Celebrating the finest in feature film visual effects achievement.

For a graphics-free listing of the final nominees for The 1997 VFX HQ Awards, click here. CONTACT Visual Effects Supervisor: Ken Ralston Visual Effects Produced by: Sony Imageworks, Weta Ltd., Industrial Light & Magic, CIS Hollywood, Full Credits A Warner Bros. Release THE FIFTH ELEMENT Visual Effects Supervisor: Mark Stetson Visual Effects Produced by: Digital Domain A Columbia/TriStar Release THE LOST WORLD Visual Effects Supervisor: Dennis Muren Visual Effects Produced by: Industrial Light & Magic A Universal Release STARSHIP TROOPERS Visual Effects Supervisors: Phil Tippett, Scott E. Anderson Visual Effects Produced by: Tippett Studio, Sony Imageworks, Industrial Light & Magic, Boss Film Studios, Full Credits A Columbia/TriStar Release TITANIC Visual Effects Supervisor: Rob Legato Visual Effects Produced by: Digital Domain, VIFX, Industrial Light & Magic, POP Film, Full Credits A Paramount/Twentieth Century Fox Release CONTACT, The Ride Visual Effects Supervisor: Ken Ralston Visual Effects Produced by: Sony Imageworks, Weta Ltd., Industrial Light & Magic, Full Credits THE FIFTH ELEMENT, Cab Chase Visual Effects Supervisor: Mark Stetson Visual Effects Produced by: Digital Domain THE LOST WORLD, Safari Visual Effects Supervisor: Dennis Muren Visual Effects Produced by: Industrial Light & Magic STARSHIP TROOPERS, Whisky Compound Visual Effects Supervisors: Phil Tippett, Scott E. Anderson Visual Effects Produced by: Tippett Studio, Sony Imageworks, Full Credits TITANIC, The Sinking Visual Effects Supervisor: Rob Legato Visual Effects Produced by: Digital Domain, VIFX, Industrial Light & Magic, Full Credits Best Sequence Honorable Mentions: TITANIC, Titanic leaving Southampton MEN IN BLACK, Edgar-bug fight ALIEN RESURRECTION, Underwater chase RETURN OF THE JEDI: SPECIAL EDITION, Galaxy-wide celebration ALIEN RESURRECTION, Underwater Dodge During the underwater sequence, two aliens swim toward the camera, the lead alien dodges a grenade that blows up the trailing alien. Visual Effects Produced by: Blue Sky Studios CONTACT, Powers of Ten The film's opening shot that begins focused on the earth, camera travels backward through the solar system, through the galaxy, past hundreds of other galaxies, pulling back to the highlight in young Ellie's eye. Visual Effects Produced by: Sony Pictures Imageworks SPAWN, Clown Transformation In a single shot, Clown writhes in convulsions as he slowly transforms into Violator, while the camera rotates around him. Visual Effects Produced by: Industrial Light & Magic STARSHIP TROOPERS, Escape from Whisky Compound As a rescue boat flies away from the compound, a tanker bug sprays fire along its hull, and the camera reveals thousands of Warrior bugs and scattered Tanker bugs covering the landscape. Visual Effects Produced by: Tippett Studio and Sony Pictures Imageworks TITANIC, Time Transition The camera rotates around Jack and Rose at the tip of Titanic, as rusticles appear on the railings, the scene turns blue, and the camera pulls back to reveal the sunken wreck on a video monitor. Visual Effects Produced by: Digital Domain Best Shot Honorable Mentions: MEN IN BLACK, Jeebs' head restoration MEN IN BLACK, Final shot, powers of ten pullout to galaxy MOUSEHUNT, Mouse sitting on Nathan Lane's shoulder STARSHIP TROOPERS, Fleet ship, ripped in half, decks exposed and on fire AIR FORCE ONE, Russian Airport In a sweeping camera move, the President's limo pulls up to Air Force One, with the Russian Airport in the background. The airport element was actually a matte painting based on photographs, which was tracked into the shot to appear to exist in the distance. Visual Effects Produced by: Boss Film Studios and Digiscope CONTACT, Dish Restoration CIS digitally restored the Arecibo dish; the dish appears to be in disrepair, brown and rusted, and the surrounding foliage was also grim and dark. The dish was restored and the surroundings brightened within the moving camera shot. Visual Effects Produced by: CIS Hollywood THE LOST WORLD, Drive into Stadium Near the end of the film, the heroes drive a red convertible into the Jurassic Park stadium as the camera, apparently mounted on a helicopter, tracks the action overhead. The 12 second shot was achieved entirely with miniatures, and mainly in-camera, with passes made with a 1/48 scale miniature car and stadium. Visual Effects Produced by: Industrial Light & Magic TITANIC, CG Ship Extensions In what appears to be a shot produced with the full-size Titanic set, a CG version of the hull was tracked and composited cleanly into the shot. Visual Effects Produced by: Digital Domain TITANIC, Pullout to Panic Beginning on a tight shot of Rose swimming in the ocean, the camera pulls back dozens of feet into the air to reveal hundreds of panicking swimmers. Only a handful of swimmers were photographed, with groups of people cloned and tracked throughout the shot. A horizon and starfield were also added. Visual Effects Produced by: POP Film Best Invisible Effects Honorable Mentions: THE DEVIL'S ADVOCATE, Penthouse waterfall THE GAME, CG glass shards SEVEN YEARS IN TIBET, Llasa over Brad Pitt's shoulder THE SWEET HEREAFTER, School bus sliding on ice THE PEACEMAKER, train sequence ALIEN RESURRECTION Alien Animation by Blue Sky Studios GEORGE OF THE JUNGLE Shep Animation by Dream Quest Images THE LOST WORLD Dinosaur Animation by Industrial Light & Magic MEN IN BLACK Alien Animation by Industrial Light & Magic STARSHIP TROOPERS Bug Animation by Tippett Studio DANTE'S PEAK THE FIFTH ELEMENT STARSHIP TROOPERS TITANIC VOLCANO DANTE'S PEAK MEN IN BLACK SPEED 2: CRUISE CONTROL STARSHIP TROOPERS VOLCANO CON-AIR RED CORNER KUNDUN SEVEN YEARS IN TIBET STARSHIP TROOPERS CONTACT THE FIFTH ELEMENT THE LOST WORLD STARSHIP TROOPERS TITANIC [A low-profile fx film with exceptional visual effects] GEORGE OF THE JUNGLE KULL THE CONQUEROR KUNDUN MIMIC RED CORNER Because of lack of participation, the "Best Effects Breakthrough" category has been removed. 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