Visual Effects Society Announces Nominees for 17th Annual VES Awards

AVENGERS: INFINITY WAR Garners Most Feature Film Nominations – INCREDIBLES 2 is Top Animated Film Contender – LOST IN SPACE Leads the Broadcast Field

Los Angeles (January 15, 2019) – Today, the Visual Effects Society (VES), the industry’s professional global honorary society, announced the nominees for the 17th 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 artists who bring this work to life. AVENGERS: INFINITY WAR garners the most feature film nomination with six. INCREDIBLES 2 is the top animated film contender with five nominations and LOST IN SPACE leads the broadcast field with six nominations.

David Bellenbaum, Chocolate Man

Nominees in 24 categories were selected by VES members via events hosted by 11 of our Sections, including Australia, the Bay Area, Germany, London, Los Angeles, Montreal, New York, New Zealand, Toronto, Vancouver and Washington. The VES Awards will be held on February 5 at the Beverly Hilton Hotel.  As previously announced, the VES Visionary Award will be presented to acclaimed writer-director-producer Jonathan Nolan.  The VES Award for Creative Excellence will be presented to award-winning creators-executive producers-writers-directors David Benioff and D.B. Weiss.  Award-winning actor-comedian-author Patton Oswalt will once again host the VES Awards.

Meike Müller, Ratatoskr

“The artistry, ingenuity and passion of visual effects practitioners around the world have come together to create truly remarkable imagery in a variety of media,” said Mike Chambers, VES Chair.  “We are seeing the best work that elevates the art of storytelling and engages the audience in new and innovative ways.  The VES Awards is the only venue that showcases and honors these outstanding artists across a wide range of disciplines, and we are extremely proud of all our nominees!”

Denis Krez, Proxima-b

The nominees for the 17th Annual VES Awards in 24 categories are as follows:

Outstanding Visual Effects in a Photoreal Feature

Avengers: Infinity War

Daniel DeLeeuw

Jen Underdahl

Kelly Port

Matt Aitken

Daniel Sudick

Christopher Robin

Chris Lawrence

Steve Gaub

Michael Eames

Glenn Melenhorst

Chris Corbould

Ready Player One

Roger Guyett

Jennifer Meislohn

David Shirk

Matthew Butler

Neil Corbould

Solo: A Star Wars Story

Rob Bredow

Erin Dusseault

Matt Shumway

Patrick Tubach

Dominic Tuohy

Welcome to Marwen

Kevin Baillie

Sandra Scott

Seth Hill

Marc Chu

James Paradis

Outstanding Supporting Visual Effects in a Photoreal Feature

12 Strong

Roger Nall

Robert Weaver

Mike Meinardus

Bird Box

Marcus Taormina

David Robinson

Mark Bakowski

Sophie Dawes

Mike Meinardus

Bohemian Rhapsody

Paul Norris

Tim Field

May Leung

Andrew Simmonds

First Man

Paul Lambert

Kevin Elam

Tristan Myles

Ian Hunter

JD Schwalm

Outlaw King

Alex Bicknell

Dan Bethell

Greg O’Connor

Stefano Pepin

Outstanding Visual Effects in an Animated Feature

Dr. Seuss‘ The Grinch

Pierre Leduc

Janet Healy

Bruno Chauffard

Milo Riccarand

Incredibles 2

Brad Bird

John Walker

Rick Sayre

Bill Watral

Isle of Dogs

Mark Waring

Jeremy Dawson

Tim Ledbury

Lev Kolobov

Ralph Breaks the Internet

Scott Kersavage

Bradford Simonsen

Ernest J. Petti

Cory Loftis

Spider-Man: Into the Spider-Verse

Joshua Beveridge

Christian Hejnal

Danny Dimian

Bret St. Clair

Outstanding Visual Effects in a Photoreal Episode

Altered Carbon; Out of the Past

Everett Burrell

Tony Meagher

Steve Moncur

Christine Lemon

Joel Whist

Krypton; The Phantom Zone

Ian Markiewicz

Jennifer Wessner

Niklas Jacobson

Martin Pelletier

Lost in Space; Danger, Will Robinson

Jabbar Raisani

Terron Pratt

Niklas Jacobson

Joao Sita

The Terror; Go For Broke

Frank Petzold

Lenka Líkařová

Viktor Muller

Pedro Sabrosa

Westworld; The Passenger

Jay Worth

Elizabeth Castro

Bruce Branit

Joe Wehmeyer

Michael Lantieri

Outstanding Supporting Visual Effects in a Photoreal Episode

Tom Clancy’s Jack Ryan; Pilot

Erik Henry

Matt Robken

Bobo Skipper

Deak Ferrand

Pau Costa

The Alienist; The Boy on the Bridge

Kent Houston

Wendy Garfinkle

Steve Murgatroyd

Drew Jones

Paul Stephenson

The Deuce; We’re All Beasts

Jim Rider

Steven Weigle

John Bair

Aaron Raff

The First; Near and Far

Karen Goulekas

Eddie Bonin

Roland Langschwert

Bryan Godwin

Matthew James Kutcher

The Handmaid’s Tale; June

Brendan Taylor

Stephen Lebed

Winston Lee

Leo Bovell

Outstanding Visual Effects in a Real-Time Project

Age of Sail

John Kahrs

Kevin Dart

Cassidy Curtis

Theresa Latzko


Jeff Gipson

Nicholas Russell

Lauren Nicole Brown

Jorge E. Ruiz Cano

Dr. Grordbort’s Invaders

Greg Broadmore

Mhairead Connor

Steve Lambert

Simon Baker

God of War

Maximilian Vaughn Ancar

Corey Teblum

Kevin Huynh

Paolo Surricchio

Marvel’s Spider-Man

Grant Hollis

Daniel Wang

Seth Faske

Abdul Bezrati

Outstanding Visual Effects in a Commercial

Beyond Good and Evil 2

Maxime Luere

Leon Berelle

Remi Kozyra

Dominique Boidin

John Lewis; The Boy and the Piano

Kamen Markov

Philip Whalley

Anthony Bloor

Andy Steele

McDonald’s; #ReindeerReady

Ben Cronin

Josh King

Gez Wright

Suzanne Jandu

U.S. Marine Corps; A Nation’s Call

Steve Drew

Nick Fraser

Murray Butler

Greg White

Dave Peterson

Volkswagen; Born Confident

Carsten Keller

Anandi Peiris

Dan Sanders

Fabian Frank

Outstanding Visual Effects in a Special Venue Project

Beautiful Hunan: Flight of the Phoenix

B. R. Rajeev

Suhit Saha

Arish Fyzee

Unmesh Nimbalkar

Childish Gambino’s Pharos

Keith Miller

Alejandro Crawford

Thelvin Cabezas

Jeremy Thompson

DreamWorks Theatre Presents Kung Fu Panda

Marc Scott

Doug Cooper

Michael Losure

Alex Timchenko

Osheaga Music and Arts Festival

Andre Montambeault

Marie-Josee Paradis

Alyson Lamontagne

David Bishop Noriega

Pearl Quest

Eugénie von Tunzelmann

Liz Oliver

Ian Spendloff

Ross Burgess

Outstanding Animated Character in a Photoreal Feature

Avengers: Infinity War; Thanos

Jan Philip Cramer

Darren Hendler

Paul Story

Sidney Kombo-Kintombo

Christopher Robin; Tigger

Arslan Elver

Kayn Garcia

Laurent Laban

Mariano Mendiburu

Jurassic World: Fallen Kingdom; Indoraptor

Jance Rubinchik

Ted Lister

Yannick Gillain

Keith Ribbons

Ready Player One; Art3mis

David Shirk

Brian Cantwell

Jung-Seung Hong

Kim Ooi

Outstanding Animated Character in an Animated Feature

Dr. Seuss‘ The Grinch; The Grinch

David Galante

Francois Boudaille

Olivier Luffin

Yarrow Cheney

Incredibles 2; Helen Parr

Michal Makarewicz

Ben Porter

Edgar Rodriguez

Kevin Singleton

Ralph Breaks the Internet; Ralphzilla

Dong Joo Byun

Dave K. Komorowski

Justin Sklar

Le Joyce Tong

Spider-Man: Into the Spider-Verse; Miles Morales

Marcos Kang

Chad Belteau

Humberto Rosa

Julie Bernier Gosselin

Outstanding Animated Character in an Episode or Real-Time Project

Cycles; Rae

Jose Luis Gomez Diaz

Edward Everett Robbins III

Jorge E. Ruiz Cano

Jose Luis -Weecho- Velasquez

Lost in Space; Humanoid

Chad Shattuck

Paul Zeke

Julia Flanagan

Andrew McCartney

Nightflyers; All That We Have Found; Eris

Peter Giliberti

James Chretien

Ryan Cromie

Cesar Dacol Jr.

Marvel’s Spider-Man; Doc Ock

Brian Wyser

Henrique Naspolini

Sophie Brennan

William Salyers

Outstanding Animated Character in a Commercial

McDonald’s; Bobbi the Reindeer

Gabriela Ruch Salmeron

Joe Henson

Andrew Butler

Joel Best

Overkill’s The Walking Dead; Maya

Jonas Ekman

Goran Milic

Jonas Skoog

Henrik Eklundh

Peta; Best Friend; Lucky

Bernd Nalbach

Emanuel Fuchs

Sebastian Plank

Christian Leitner

Volkswagen; Born Confident; Bam

David Bryan

Chris Welsby

Fabian Frank

Chloe Dawe

Outstanding Created Environment in a Photoreal Feature

Ant-Man and the Wasp; Journey to the Quantum Realm

Florian Witzel

Harsh Mistri

Yuri Serizawa

Can Yuksel

Aquaman; Atlantis

Quentin Marmier

Aaron Barr

Jeffrey De Guzman

Ziad Shureih

Ready Player One; The Shining, Overlook Hotel

Mert Yamak

Stanley Wong

Joana Garrido

Daniel Gagiu

Solo: A Star Wars Story; Vandor Planet

Julian Foddy

Christoph Ammann

Clement Gerard

Pontus Albrecht

Outstanding Created Environment in an Animated Feature

Dr. Seuss‘ The Grinch; Whoville

Loic Rastout

Ludovic Ramiere

Henri Deruer

Nicolas Brack

Incredibles 2; Parr House

Christopher M. Burrows

Philip Metschan

Michael Rutter

Joshua West

Ralph Breaks the Internet; Social Media District

Benjamin Min Huang

Jon Kim Krummel II

Gina Warr Lawes

Matthias Lechner

Spider-Man: Into the Spider-Verse; Graphic New York City

Terry Park

Bret St. Clair

Kimberly Liptrap

Dave Morehead

Outstanding Created Environment in an Episode, Commercial, or Real-Time Project

Cycles; The House

Michael R.W. Anderson

Jeff Gipson

Jose Luis Gomez Diaz

Edward Everett Robbins III

Lost in Space; Pilot; Impact Area

Philip Engström

Kenny Vähäkari

Jason Martin

Martin Bergquist

The Deuce; 42nd St

John Bair

Vance Miller

Jose Marin

Steve Sullivan

The Handmaid’s Tale; June; Fenway Park

Patrick Zentis

Kevin McGeagh

Leo Bovell

Zachary Dembinski

The Man in the High Castle; Reichsmarschall Ceremony

Casi Blume

Michael Eng

Ben McDougal

Sean Myers

Outstanding Virtual Cinematography in a Photoreal Project

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

Ready Player One; New York Race

Daniele Bigi

Edmund Kolloen

Mathieu Vig

Jean-Baptiste Noyau

Welcome to Marwen; Town of Marwen

C. Kim Miles

Matthew Ward

Ryan Beagan

Marc Chu

Outstanding Model in a Photoreal or Animated Project

Avengers: Infinity War; Nidavellir Forge Megastructure

Chad Roen

Ryan Rogers

Jeff Tetzlaff

Ming Pan

Incredibles 2; Underminer Vehicle

Neil Blevins

Philip Metschan

Kevin Singleton

Mortal Engines; London

Matthew Sandoval

James Ogle

Nick Keller

Sam Tack

Ready Player One; DeLorean DMC-12

Giuseppe Laterza

Kim Lindqvist

Mauro Giacomazzo

William Gallyot

Solo: A Star Wars Story; Millennium Falcon

Masa Narita

Steve Walton

David Meny

James Clyne

Outstanding Effects Simulations in a Photoreal Feature

Avengers: Infinity War; Titan

Gerardo Aguilera

Ashraf Ghoniem

Vasilis Pazionis

Hartwell Durfor

Avengers: Infinity War; Wakanda

Florian Witzel

Adam Lee

Miguel Perez Senent

Francisco Rodriguez

Fantastic Beasts: The Crimes of Grindelwald

Dominik Kirouac

Chloe Ostiguy

Christian Gaumond


Aharon Bourland

Jordan Walsh

Aleksandar Chalyovski

Federico Frassinelli

Outstanding Effects Simulations in an Animated Feature

Dr. Seuss‘ The Grinch; Snow, Clouds and Smoke

Eric Carme

Nicolas Brice

Milo Riccarand

Incredibles 2

Paul Kanyuk

Tiffany Erickson Klohn

Vincent Serritella

Matthew Kiyoshi Wong

Ralph Breaks the Internet; Virus Infection & Destruction

Paul Carman

Henrik Fält

Christopher Hendryx

David Hutchins


Henrik Karlsson

Theo Vandernoot

Martin Furness

Dmitriy Kolesnik

Spider-Man: Into the Spider-Verse

Ian Farnsworth

Pav Grochola

Simon Corbaux

Brian D. Casper

Outstanding Effects Simulations in an Episode, Commercial, or Real-Time Project

Altered Carbon

Philipp Kratzer

Daniel Fernandez

Xavier Lestourneaud

Andrea Rosa

Lost in Space; Jupiter is Falling

Denys Shchukin

Heribert Raab

Michael Billette

Jaclyn Stauber

Lost in Space; The Get Away

Juri Bryan

Will Elsdale

Hugo Medda

Maxime Marline

The Man in the High Castle; Statue of Liberty Destruction

Saber Jlassi

Igor Zanic

Nick Chamberlain

Chris Parks

Outstanding Compositing in a Photoreal Feature

Avengers: Infinity War; Titan

Sabine Laimer

Tim Walker

Tobias Wiesner

Massimo Pasquetti

First Man

Joel Delle-Vergin

Peter Farkas

Miles Lauridsen

Francesco Dell’Anna

Jurassic World: Fallen Kingdom

John Galloway

Enrik Pavdeja

David Nolan

Juan Espigares Enriquez

Welcome to Marwen

Woei Lee

Saul Galbiati

Max Besner

Thai-Son Doan

Outstanding Compositing in a Photoreal Episode

Altered Carbon

Jean-François Leroux

Reece Sanders

Stephen Bennett

Laraib Atta

The Handmaid’s Tale; June

Winston Lee

Gwen Zhang

Xi Luo

Kevin Quatman

Lost in Space; Impact; Crash Site Rescue

David Wahlberg

Douglas Roshamn

Sofie Ljunggren

Fredrik Lönn

Silicon Valley; Artificial Emotional Intelligence; Fiona

Tim Carras

Michael Eng

Shiying Li

Bill Parker

Outstanding Compositing in a Photoreal Commercial

Apple; Unlock

Morten Vinther

Michael Gregory

Gustavo Bellon

Rodrigo Jimenez

Apple; Welcome Home

Michael Ralla

Steve Drew

Alejandro Villabon

Peter Timberlake

Genesis; G90 Facelift

Neil Alford

Jose Caballero

Joseph Dymond

Greg Spencer

John Lewis; The Boy and the Piano

Kamen Markov

Pratyush Paruchuri

Kalle Kohlstrom

Daniel Benjamin

Outstanding Visual Effects in a Student Project

Chocolate Man

David Bellenbaum

Aleksandra Todorovic

Jörg Schmidt

Martin Boué


Denis Krez

Tina Vest

Elias Kremer

Lukas Löffler


Meike Müller

Lena-Carolin Lohfink

Anno Schachner

Lisa Schachner

Terra Nova

Thomas Battistetti

Mélanie Geley

Mickael Le Mezo

Guillaume Hoarau

SPIDER-MAN: FAR FROM HOME – Official Teaser Trailer

Watch the #SpiderManFarFromHome teaser trailer now. 7.5.19

Peter Parker returns in Spider-Man: Far From Home, the next chapter of the Spider-Man: Homecoming series! Our friendly neighborhood Super Hero decides to join his best friends Ned, MJ, and the rest of the gang on a European vacation. However, Peter’s plan to leave super heroics behind for a few weeks are quickly scrapped when he begrudgingly agrees to help Nick Fury uncover the mystery of several elemental creature attacks, creating havoc across the continent!

Täglich einen Kurzen: Don´t Know Where Going

A little animated conversation between Peter Millard and me.
We drew 250 frames each, than swapped frames. I animated on his sequence, and he did the same thing on mine.
Without knowing where the other person was going, we animated straight ahead without a plan.
This is what came out of it.
more info:–double-profile–peter-millard-and-r-ka-bucsi.html
The film was part of an exhibition we did together at Vienna Museumsquartier – ASIFAKEIL, while being both Artists in Residence at q21.

Louise Bagnall, Cartoon Saloon: The Making Of – Late Afternoon

Writer and director, Louise Bagnall, talks about making Late Afternoon; where the idea came from, achieving it’s unique look and the challenges faced in production.

Emily is an elderly woman who lives between two states, the past and the present. She journeys into an inner world, reliving moments from her life. She searches for a connection within her vivid, but fragmented memories.

Produced by Cartoon Saloon, Late Afternoon has won Best Animated Short at Tribeca Film Festival and has screened at more than 80 festivals worldwide.

The film has been shortlisted for the Best Animation Short category at the 2019 Oscars.

Showreel von Sonja Schneider, Animalmotion Hamburg

Lieber Johannes,

ich verfolge Deinen Blog u.a. auch bei facebook und schaue mir gerne immer die Showreels von KollegInnen aus der Branche an. Vor kurzem habe ich nun auch mal wieder ein Showreel veröffentlich. Falls es für Dich interessant sein könnte und es passt, könntest Du es auch gerne auf Deiner Seite veröffentlichen.

Viele Grüße,

Moho and After Effects animations, Photoshop Retouching and Compositing.

Freelance Animator Hamburg

Sonja Schneider

A Letter from WIA President Marge Dean

Dear friends and colleagues,

Last week’s announcement regarding the hiring of John Lasseter by Skydance has sent shockwaves throughout the industry. While many have asked WIA to comment on the news, to be honest, I’d much rather talk about the amazing Margie Cohn who was just made president of Dreamworks Animation. I wish our attention could stay more on the positive accomplishments of brilliant women than the bad behavior of some men.Like everyone else, I was shocked and distressed by the decision of Skydance to bring John Lasseter back into the community and reward him so well. I went through a roller coaster of emotions that have taken a few days to sort through. The announcement triggered in me the same feelings that I’ve had in abuse situations. Fundamentally, I felt disregarded and trivialized. Harassment has been allowed to exist (and some would say flourish) in the creative industries because talent always takes precedence over everything else…where the safety of an individual is deemed less important than the success of the greater goals; where the feelings of violation and fear are seen as an over-reaction to what has happened; where there is outright denial of someone’s very personal, painful experiences. The single biggest effect of the events last year is that we saw men experiencing consequences for their bad behavior. We had never seen that on such a scale before. It empowered us and gave us hope that things could be different. The Lasseter decision seems to have weakened that giant step forward, and I felt panic that our progress was being undermined. The sense of security that women didn’t need to be afraid to be in the workplace was shaken.When I came out the other side of being upset and pretty freaked out, I realized that we can’t control who corporations hire no matter how much we protest, make statements in the press, get companies to commit to zero tolerance for harassment, or the myriad other proactive things that are being done. Fighting to keep work environments free of predators is important, but it’s not as effective a strategy as empowering women to take care of themselves and each other. Most stories that I’ve heard about sexual harassment happen in secret moments when no one else is around. Deniability is usually a key component. In talking with supervisors, I usually hear distressed and remorseful stories that they were unaware that something was going on under their noses. Companies are responsible for how they react after the fact–Do they believe the victim? Do they fire the perpetrator no matter how important he is to their bottom line? But what if we could stop it before it happens? What if we have an empowered workforce that will not allow the mistreatment to happen to themselves or co-workers? Maybe that would be more effective.It’s critical that we take responsibility for protecting ourselves and our colleagues, especially for women. This will include requiring our employers to build safe workplaces, to have no tolerance for harassment, and to sacrifice their golden ticket if required. But more importantly, we need to speak up for ourselves and others. We need to engage in the discussion in places that we can have impact. We need to know what resources are out there for us. We need to get stronger both emotionally and physically. We need to not be afraid.As an advocacy group, WIA is committed to pushing for a safe working place for all people in animation, especially women of all shades and people of color, and others who are easily targeted. If you are subjected to harassment and need information, you can find resources on our website.

And as a final thought for those people who run studios and build animation production teams: if you really want to help fight sexual harassment (or just not get bad press anymore), then hire more women. If you have a workforce that is 50% female, those secret moments of vulnerability become harder to find. There will be more invested and aware eyes in the workplace. On the surface, WIA’s call to action of 50-50 by 2025 seems like it’s just about equity, but the truth is that a more balanced workforce will change everything, from the content that is made to the culture of the studios. More women in a studio is the best prevention for harassment.And then, hopefully, we’ll get to talk more about the amazing women of animation and less about misbehaving men.


Marge Dean


Women in Animation

Stuttgart, 1 .Mai 2019: Animation and Science

Venue: Literaturhaus Stuttgart, Wednesday, May 1 2019

An academic symposium at the Stuttgart International Festival of Animated Film and FMX 2019 in collaboration with the Society of Animation Studies, the School of Art, Design and Media at Nanyang Technological University Singapore, the Institute of Media Studies at Eberhard Karls University Tübingen, the AG Animation and the Literaturhaus Stuttgart

The symposium is aiming to be highly interdisciplinary and international in nature, bringing together scholars, students, academics and artists from diverse fields of research and professional practice.

Call for proposals:

This one-day symposium welcomes papers, which negotiate the topic of science in animation, comics and illustration. We intend to embrace academic and practice-based presentations from diverse angles. The examples below just provide some examples of possible topics, but are by no means intended to be limiting in terms of thematic scope

The symposium invites abstracts for 20-minute presentations and welcomes proposals on all aspects of science in animation/film, games, comics (graphic novels) and illustration. Proposals, which relate to the symposium topic will be preferred.

Selected conference papers additionally have the chance to be considered in substantially expanded form (after the conference) for the potential book “Animation and Science” in the book series Palgrave Animation published by Palgrave Macmillan.

To encourage a high number of quality submissions we also welcome proposals that negotiate the conference topic in a wider sense. We are looking at the idea of “science” from many different possible angles, not restricted to natural sciences – but also encompassing the humanities and other fields.

Topics can include, but are not limited to:

  • Interdisciplinary papers in general that address the topic of science in animation, games, comics or illustration
  • Using scientific approaches for animation studies, theory and practice
  • Animation, comics and illustration as a scientific research method
  • Using animation as a means of investigation to form a scientific argument
  • Science investigated from the perspective of animation studies.
  • Animation and the natural sciences
  • Animation and medical sciences
  • Animation and computer science
  • Games and science
  • VR, augmented reality, expanded animation: Art and technology combined
  • A scientific view at animation practice: technology and creativity
  • Animated documentaries with science topics
  • Educational animation, comics, graphic novels or illustration projects that negotiate scientific topics
  • The history of animation in the service of scientific education (e.g. the educational films of the atomic age)
  • Animation/comics/illustration in science education
  • Comics, animations or games about (famous) scientists and/or scientific topics.
  • Animation for visualization in the sciences
  • Scientific illustration

Please e-mail abstracts of 350 words maximum (excluding title) to the attention of the conference review committee at:

Abstracts should include your name, affiliation, e-mail address, and the title of your proposed paper. Please take care that you also submit send a second anonymized version of the abstract for peer review. Please do also provide a short CV, with a maximum of 300 words as a separate document.

The deadline for submissions is Monday, March 11, 2019. Authors of accepted papers will be notified in the week from April 1 or earlier.

Eligibility and Conference Fee

The call is open to all interested scholars, researchers and practitioners.

Accepted speakers as well as visitors of the symposium will need to get an accreditation for professionals at the Stuttgart International Festival of Animated Film or FMX 2019. (Either one is sufficient).

This will allow full access to the symposium as a speaker. In other words: For anyone who will be holding an accreditation for either ITFS or FMX the symposium is entirely free to attend as a speaker (or audience member) – no conference fee required.

Google Spotlight Stories: Scoring Age of Sail

Go behind the scenes for the scoring of our latest short „Age of Sail“ with composer Scot Stafford.

Age of Sail is a collaboration between Google Spotlight Stories and Boathouse Studios in a multi platform VR and Theatrical release.

Set on the open ocean in 1900, Age of Sail is the story of William Avery (voiced by Ian McShane), an old sailor adrift and alone in the North Atlantic.

When Avery reluctantly rescues Lara, who has mysteriously fallen overboard, he finds redemption and hope in his darkest hours.



Directed by ACADEMY AWARD-winning filmmaker John Kahrs.

Produced with Chromosphere and Evil Eye Pictures.

Subscribe to our channel:

For the 360/VR version:

Download the app on Google Play:

Download the app on iTunes:

Download Age of Sail on Steam:

Download Age of Sail on Viveport:

Das Showreel von Dominik Platen, Compositing

My latest showreel of some of my compositing work. Films include „Christopher Robin“, „Jurassic World: Fallen Kingdom“, „Star Wars Episode VIII: The Last Jedi“, „The Current War“ (Trailer shots), „Assassin’s Creed“ & „King Arthur: Legend of the Sword“

Feel free to contact me:
Music: „Sparkwood & 21“ by Nihilore

Täglich einen Kurzen: SHINE (Director’s Cut)

Two male, glowing creatures start a fight over trying to impress a female. Each one of them wants to win her over by giving a better light show than his competitor.

Director: Alexander Dietrich, Johannes Flick
Producer: Mareike Keller
Production: Filmakademie Baden-Württemberg GmbH

The Grinch ‘First 10 Minutes Of Movie’ Full Scene (2018)

Illumination und Universal Pictures präsentieren mit DER GRINCH nach der Ich-Einfach unverbesserlich-Reihe, den Minions, Sing und Pets ihren achten Animations-Spielfilm, basierend auf Dr. Seuss’ beliebtem Kinderbuch-Klassiker. In der Originalversion leiht der für einen Oscar® nominierte Benedict Cumberbatch dem berüchtigten Grinch die Stimme und verhilft ihm zu seinem grummeligen Charakter. Regie in diesem weihnachtlichen Familienspaß führen die beiden Animationsexperten Scott Mosier und Yarrow Cheney.


In Zusammenarbeit mit Universum Film darf INDAC jeweils 2-3 Animations-/VFXschaffende zu den Presse-Screenings des Films „ASTERIX UND DAS GEHEIMNIS DES ZAUBERTRANKS“ einladen.

Die Vorführungen finden statt in München, Frankfurt, Stuttgart, Hamburg, Berlin und Köln

Die Teilnehmer verpflichten sich obligatorisch, eine Filmkritik für den INDAC Blog zu verfassen, die zeitnah um den Filmstart auf dem INDAC-Blog veröffentlicht wird. Details weiter unten!

Nur auf gemäß der neuen DSGVO registrierte Mitglieder der deutschen Animations- und VFX Community können sich für die Teilnahme an den Screenings bewerben. Der Film wird in der deutschen Fassung gezeigt!

Kinostart: 14. März 2019 im Verleih von Universum Film

Mit den Stimmen von: Milan Peschel & Charly Hübner

Regie: Louis Clichy & Alexandre Astier

Drehbuch: Alexandre Astier

Nach den Werken von: René Goscinny & Albert Uderzo

Asterix und Obelix sind zurück! Nach dem Erfolg von „Asterix im Land der Götter“ erobern die Kult-Gallier im Frühjahr 2019 endlich wieder die große Leinwand – in 2D und 3D! In dem neuen Kinoabenteuer sucht der Druide Miraculix gemeinsam mit Asterix und Obelix nach einem talentierten Nachfolger, den er in das Geheimnis um den magischen Zaubertrank einweihen kann. Freuen Sie sich auf ein echtes Kinovergnügen voller Witz und Spannung!

Wir befinden uns im Jahre 50 v.Chr. Ganz Gallien ist von den Römern besetzt… Ganz Gallien? Nein! Das unbeugsame Volk leistet natürlich zu jeder Zeit Widerstand! Der Druide Miraculix sorgt sich um die Zukunft des Dorfes und macht sich gemeinsam mit Asterix und Obelix auf, einen Nachfolger zu finden, dem er das Geheimnis des legendären Zaubertranks anvertrauen kann. Doch auch der hinterhältige Dämonix versucht, in den Besitz der magischen Formel zu kommen und schreckt dafür nicht einmal vor einem Pakt mit den Römern zurück. Während Asterix und Obelix auf ihrer Suche nach einem würdigen Druiden-Lehrling ganz Gallien durchqueren, müssen die Frauen das Dorf allein gegen die römischen Soldaten verteidigen. Und die Zaubertrank-Vorräte reichen nicht ewig…

Seit Jahrzehnten begeistern Asterix und Obelix mit ihren tollkühnen Abenteuern ganze Generationen. Nun kehren die gewitzten Gallier in ASTERIX UND DAS GEHEIMNIS DES ZAUBERTRANKS abermals auf die große Leinwand zurück – in 2D und 3D. Mit reichlich Frauenpower und jenem unverkennbaren Witz, der die Herzen ihrer kleinen und großen Fans zuverlässig erobert. „Asterix“ wurde 1959 von Autor René Goscinny und Zeichner Albert Uderzo erfunden, 1967 entstand mit „Asterix der Gallier“ der erste Zeichentrickfilm. Nach insgesamt acht Zeichentrickfilmen, vier Realverfilmungen und einem Animationsfilm ist ASTERIX UND DAS GEHEIMNIS DES ZAUBERTRANKS nun der 14. Film um den populären Gallier. Zuletzt begeisterte in 2015 „Asterix im Land der Götter“ die deutschen Kinozuschauer. Hinter dem Erfolg des Animationsfilms steht das kreative Duo Alexandre Astier (u.a. als Mordicus in „Asterix bei den Olympischen Spielen“) und Louis Clichy („Wall E“, „Oben“), das auch wieder bei ASTERIX UND DAS GEHEIMNIS DES ZAUBERTRANKS Regie führte. Auch Milan Peschel und Charly Hübner überzeugen erneut als Sprecher von Asterix und Obelix.

Bitte meldet Euch bis zum 19. Januar 2019, 20 Uhr Abends verbindlich an! Überlegt, ob Ihr auch wirklich zu den angegebenen Termine Zeit habt!

Private Begleitungen sind nicht gestattet.

Wir möchten Sie im Namen des Kinopublikums herzlich bitten, in Ihren Filmbesprechungen Spoiler zu vermeiden, d.h. keine wesentlichen Handlungsstränge oder das Ende des Films zu verraten.

Bitte beachten Sie auch die Sicherheitshinweise weiter unten. Vielen Dank.


  1. Teilnehmen an den Screenings und Events dürfen nur Personen, die sich gemäß der neuen DSGVO auf dem INDAC Blog als Mitglied eingetragen haben.
  2. Wer sich für ein Screening oder Event anmeldet, hat vorher geprüft, ob für ihn oder sie tatsächlich die Möglichkeit besteht, am Screening teilzunehmen. Wer sich danach ohne Grund abmeldet, wird für das nächste Screening gesperrt.
  3. Wer im Nominierungsprozess dann einen der Plätze zugesprochen bekommt, hat 24 Stunden Zeit dies emailtechnisch zu bestätigen nach der Bekanntgabe der Nominierungen. Bleibt diese Bestätigungsmail aus, wird der Platz anderweitig vergeben.
  4. Wer danach 24 oder weniger Stunden vor dem Screening die Teilnahme am Screening absagen muss, kann dies ab jetzt nur noch per Telefonat tun – die entsprechende Telefonnummer lautet 0176 9932 9757, also entweder mir direkt mitteilen oder auf die Mailbox sprechen.
  5. Wer die Teilnahme am Screening dann nicht wahrnimmt, ohne abgesagt zu haben, wird von weiteren Teilnahmen an Events und Screenings auf unbestimmte Zeit ausgeschlossen.
  6. Wer keine INDAC Kritik für den Blog ohne Rücksprache mit mir abliefert ohne sein Verhalten plausibel zu begründen, wird ebenfalls für weitere Teilnahmen an Screenings und Events auf unbestimmte Zeit gesperrt.
  7. Wer darüber hinaus gegen die obigen Auflagen in irgendeiner Form verstößt oder die jeweiligen Vorgaben des Verleihs in Sachen Embargo oder ähnlichem in irgendeiner Form missachtet, wird auf unbestimmte Zeit für weitere Events und Screenings gesperrt.

Wir möchten Sie darüber informieren, dass es umfangreiche Sicherheitsmaßnahmen geben wird. Bitte seien Sie rechtzeitig vor Ort.

Bitte beachten: Mobiltelefone, Kameras und sonstige Aufnahmegeräte müssen an der Garderobe abgegeben werden.

Darüber hinaus möchten wir Sie informieren, dass es umfangreiche Sicherheitsmaßnahmen geben wird und die Vorführungen überwacht werden, um illegale Aufnahmen zu verhindern.

Mit Ihrer Teilnahme an dieser Vorführung erklären Sie sich mit der Kontrolle durch das Sicherheitspersonal einverstanden. Sie erklären sich außerdem einverstanden, dass Sie keinerlei elektronische Geräte in den Kinosaal mitbringen. Durch Ihre Teilnahme sind Sie außerdem mit dem Durchsuchen Ihrer persönlichen Dinge und Ihrer Person nach elektronischen Geräten einverstanden. Sollten Sie versuchen ein elektronisches Gerät mitzunehmen, wird Ihnen der Zutritt verweigert. Sollten Sie versuchen, ein elektronisches Gerät während der Vorführung zu benutzen, werden Sie sofort des Kinosaals verwiesen und das Gerät sowie sein Inhalt werden von uns einbehalten. Jede Aufnahme während der Filmvorführung und auch jeder Versuch wird zur Anzeige gebracht.

Wir bitten um Ihr Verständnis und rechtzeitiges Erscheinen, damit die o.g. Sicherheitsmaßnahmen durchgeführt werden können.

Die Vorführungen finden statt in München, Frankfurt, Stuttgart, Hamburg, Berlin und Köln. (Der Film wird in der deutschen Fassung gezeigt. )
Der Eintritt ist frei. Die Teilnehmer verpflichten sich, eine kurze Kritik zum Filmstart für den INDAC Blog zu verfassen und die Vorgaben der Pressebetreuung vor Ort zu beachten (Sperrfristen, keine Geräte mit Speichermedium im Kinosaal etc. )

Wir werden unter allen Einsendern die Plätze vergeben und Euch dann das entsprechende Kino mitteilen, wo die Vorführung stattfinden wird!

Meldet euch hier für das Screening an. Anmeldeschluss ist der 19. Januar 2019, 20 Uhr Abends

Dieser Inhalt ist nur für Mitglieder einsehbar. Du bist Mitglied dann logge dich bitte ein.

Illumination sucht executive assistant

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