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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 |
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THE FIFTH ELEMENT
Visual Effects Supervisor: Mark Stetson
Visual Effects Produced by: Digital Domain
A Columbia/TriStar Release |
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THE LOST WORLD
Visual Effects Supervisor: Dennis Muren
Visual Effects Produced by: Industrial Light & Magic
A Universal Release |
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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 |
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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 |
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CONTACT, The Ride
Visual Effects Supervisor: Ken Ralston
Visual Effects Produced by: Sony Imageworks, Weta Ltd., Industrial Light & Magic, Full Credits |
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THE FIFTH ELEMENT, Cab Chase
Visual Effects Supervisor: Mark Stetson
Visual Effects Produced by: Digital Domain |
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THE LOST WORLD, Safari
Visual Effects Supervisor: Dennis Muren
Visual Effects Produced by: Industrial Light & Magic |
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STARSHIP TROOPERS, Whisky Compound
Visual Effects Supervisors: Phil Tippett, Scott E. Anderson
Visual Effects Produced by: Tippett Studio, Sony Imageworks, Full Credits |
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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
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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 |
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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 |
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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 |
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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 |
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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
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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 |
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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 |
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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 |
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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 |
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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
[A low-profile fx film with exceptional visual effects]
Because of lack of participation, the "Best Effects Breakthrough" category has been removed.
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