Here’s a great example of the look/technique I’m going for. From Spek Studios in Williamsburg. Brooklyn:

K’naan: Spek Studio

For lack of better tools and time, I’m trying a method (that won’t look so scribbley, unfortunately) of tracing with paths in Illustrator, and then key frame animating the paths every third frame (and then tripling each frame in the final animation). Basically I’m hoping to NOT have to start from scratch on each frame of the clip by using previously drawn paths. I’ve only just finished the paths and color for the first frame. I should be able to test out the animating this week sometime.

Lately I’ve been talking about and researching about how to transfer my knowledge of rotoscoping with film to the digital world for an upcoming part in the project I’m working on.

Now before I continue, this is where it gets complicated. Over the weekend I tried to talk to the Director and Animator of a film that is probably 70% “rotoscoped”. That is, backgrounds and objects are drawn cartoony with the real people living within that space. I wanted to know how he was doing it in After Effects.
Basically I couldn’t get a straight answer out of him… but I would find out later it was because we were not on the same page of what we were talking about.

Later in the week I talked to a friend who is also an After Effects animator and asked HER how she would do rotoscoping in AFX or on the computer in general and got the same “use masks” answer the other guy gave me. I kept trying to explain my scenario where I wanted to replace a background with a drawn version of it. The way I wanted to replace it was not to mask out the subject and composite in a separate animation, but to draw OVER the background, because I wanted it to both match the background exactly, and have moving lines that changed so one could tell it was drawn on. And she would say “Just track a mask around the subject in the foreground…”

She showed me this video as an example:

(Though the Rihanna video may have some drawn in elements like the crayon looking stars… she mainly was showing me for the green screen keying and replacing backgrounds.)

And then I would say, no, what I mean is like this:

And finally she said “Oh, like Waking Life.” Yeah!

Though Waking Life might be Faux-toscoping.

It wasn’t until I talked it over with David later that night and then decided to look it up that we figured out why all the people I talked to seem to call what I would call “compositing” rotoscoping, and that it was not anything like what I was meaning by rotoscoping…

But wikipedia cleared it up:

Rotoscoping is an animation technique in which animators trace over live-action film movement, frame by frame, for use in animated films. Originally, pre-recorded live-action film images were projected onto a frosted glass panel and re-drawn by an animator. This projection equipment is called a rotoscope, although this device has been replaced by computers in recent years. In the visual effects industry, the term rotoscoping refers to the technique of manually creating a matte for an element on a live-action plate so it may be composited over another background.

Ugh! Why would one term be used now for two completely different things? What I was talking about was adding to the frame. What they were talking about was cutting out and taking away.

To me, rotoscope is both a technique and a look. Hand-drawn, simplistic realism; either partially tracing, completely tracing a shot, or adding hand-drawn elements to a real shot so that they look like they exist within the shot. You’re limited by what you can accomplish with a rotoscoping machine, and then only transferring those techniques and that look to computers.

In college we rotoscoped a film about bear cubs by projecting the film onto glass, frame by frame, and we traced over it onto paper. From what I’ve read, the best way to do it digitally seems to be to send the shot to Photoshop. Unless there’s any other way people know of!

For our LOST finale party (On the Black Rock! Aka the Frying Pan boat), I had our friend, Alan MacDougall, write me a program that was an interactive Swan Station computer replica. We had the computer set up in a room on the boat for people to type in the numbers…. or not…. as part of the Tour de Black Rock.

Check it out! Push the button!! (type in the box) Or if you let it run out, something fun will happen too. Play around, try it a few times. It says different stuff now and again. There are some Easter eggs and fun Lost stuff goin’ on.

And if anyone is interested, here are some photos taken from the party taken by The NYC Photographer, Brad Jackson.
Lost Photo Set

If you drop the clapper arm instead of pushing it down, it will bounce up slightly and make another smaller clap sound that really makes it more difficult than it needs to be to sync!

… Just sayin’.

Animated gif brought to you by the 90s.

Saw one of the new Shepard Fairey murals on Wythe and North 11th today.

Hopefully sometime in 2010!

http://www.karmamarkthemovie.com/

Directed by Kim Huston

I’ve decided to post some tips/tricks (Trips!) I’ve found to be really useful in working with Avid and as an Assistant Editor that will both remind me later down the road and hopefully help out someone desperately searching for answers late at night online.

Two Ways to Recover Your Original Source Clip Filenames:

If you’ve changed your clip names in Avid, and didn’t copy the column over into another column like “Take” or “Comments” for reference later, you may have already noticed the problems that arise from this seemingly innocent act.
For my current project, there are hundreds of archive clips that all need to retain their original archive clip ID in order to find the clip again and order masters from the archive companies. Having not always kept the original name somewhere in a column of the bin, I’m wondering “How the hell do I know what clip is what without having to open each up and visually reference based on the backed up media?”

1. Reveal File
Though you have changed the clip name in the bin, the MXF file Avid created on the import retains the original clip name in the first part of the MXF file name. Reveal File shows you the exact file on whichever hard drive you loaded it to.
Copy and paste just the obvious clip name part of the file (and not the other Avid generated numbers and letters) back into the Avid in a column like “Comment”, in order to export an EDL with that info in it.

But just so you know, the Avid does cut off the character count of your filename after what appears to be around 18 characters and then just ignores the rest.  So I would still cross reference it with the backed up media if your filenames are longer than that.

2. Use FilmScribe and show column “UNC Path”
If you backed up your media, and imported it from where you backed it up from, FilmScribe (another option above EDL in the output menu) will tell you the file path from the imported file, which ultimately ends with the filename.

ex.: G:\Loaded\GettyImages\8jd9fle9.jpg
Copy and paste that last part into the Avid somewhere useful. And/or just give the archive person the FilmScribe printout/file/link. (Though I’d recommend keeping that information that you’ve just worked on relocating somewhere in the bin as well)

If the original location from where the file was imported was changed or deleted or moved somewhere else, I’m not sure if it still retains that information. You could always use the reveal file method instead.

However, both methods are a pain in the ass, so now that you’ve learned it’s a bad idea to get rid of the original clip names all together, don’t do it again! I’m making a habit of putting that info into the “Take” column, which wasn’t being used in our project. Maybe make your own column called “Clip Name” so that there isn’t much of a chance someone accidentally changes the column’s info on you. Then make sure to remind everyone on the project who may load something without you knowing, to keep up the same protocol.

We made a “fake commercial” for the March Channel101 screening, which was fakely sponsored by Tim Burton’s Alice in Wonderland.

It only seemed fitting, given the crazy trippiness of the film, to make a Japanese commercial, reminiscent of Mr. Sparkle or the Japander streamed commercials with like Arnold Schwarzenegger going bonkers and graphics flying everywhere.

Alice in Wonderland fake sponsor commercial from Kim Huston on Vimeo.

The stock footage site Artbeats is giving away one free clip (in either NTSC, PAL, or HD) a day (forever?).  All you have to do is register for the site and then choose your resolution and download.  Registering is free and basically painless.  I just found out literally minutes ago, so I’m not sure about the variety of subject or any other specifics.  The clip today is an aerial pan over the Badlands.  Who knows when I’ll use it, but I’ll find a way!  All I know is that it’s a great idea that I’m going to take advantage of!

You can also request to have the clip shipped to you, on dvd I would guess, but you have to pay for the shipping.

From Artbeats.com

They also say the clips are exactly the same as the ones they sell, or otherwise noted if they have been shorted for download time or whathaveyou.

I’m hesitant to link the “about” page because it seems like the url might change day by day depending on what clip is free, but here it is just in case it stays the same: http://www.artbeats.com/free_clips/SMA128/about

Annnnnd because I’m interested, here are the nominees for the Visual Effects Society (VES) Awards.

Outstanding Visual Effects in a Visual Effects Driven Feature Motion Picture

2012
Volker Engel, Visual Effects Supervisor
Marc Weigert, Visual Effects Supervisor
Josh Jaggars, Visual Effects Producer

AVATAR
Joe Letteri, Senior Visual Effects Supervisor
Joyce Cox, Overall VFX Producer
Eileen Moran, VFX Producer
Richard Baneham, Animation Supervisor

DISTRICT 9
Dan Kaufman, VFX Supervisor
Stefanie Boose, VFX Producer
James Stewart, Creature Supervisor
Peter Muyzers, On-set VFX Plate Supervisor

STAR TREK
Roger Guyett, Visual Effects Supervisor
Burt Dalton, Special Effects Supervisor
Shari Hanson, Visual Effects Producer
Russell Earl, Visual Effects Supervisor

TRANSFORMERS: REVENGE OF THE FALLEN
Scott Farrar, Visual Effects Supervisor
John Frazier, Special Effects Supervisor
Scott Benza, Animation Director
Wayne Billheimer, Visual Effects Producer

Outstanding Supporting Visual Effects in a Feature Motion Picture

ANGELS & DEMONS
Barrie Hemsley, VFX Producer
Angus Bickerton, VFX Supervisor
Ryan Cook, VFX Supervisor
Mark Breakspear, VFX Supervisor

THE BOX
Thomas Tannenberger, Visual Effects Supervisor
Olcun Tan, Digital Effects Supervisor
Mark Kolpak, Visual Effects Producer
Peter Cvijanovic, Compositing Supervisor

INVICTUS
Michael Owens, VFX Supervisor
Geoff Hancock, VFX Supervisor
Cyndi Ochs, VFX Producer
Dennis Hoffman, Head of Production

THE ROAD
Mark O. Forker, VFX Supervisor
Phillip Moses, VFX Producer
Ed Mendez, Compositing Supervisor
Paul Graff, VFX Supervisor – Crazy Horse Effects

SHERLOCK HOLMES
Jonathan Fawkner, VFX Supervisor
Chas Jarrett, VFX Supervisor
David Vickery, VFX Supervisor
Dan Barrow, VFX Producer

Outstanding Animation in an Animated Feature Motion Picture

9
Jinko Gotoh, Co-Producer
Joe Ksander, Animation Director
Daryl Graham, Supervising Animator
Ken Duncan, Animation Supervisor

CLOUDY WITH A CHANCE OF MEATBALLS
Pete Nash, Animation Director
Chris Juen, Co-Producer
Alan Hawkins, Supervising Animator
Mike Ford, CG Supervisor

CORALINE
Henry Selick, Animation Director
Claire Jennings, Animation Producer

ICE AGE: DAWN OF THE DINOSAURS
Melvin Tan, Senior Animator
Galen Chu, Supervising Animator
Jeff Gabor, Senior Animator
Anthony Nisi, Animation Production Supervisor

UP
Pete Docter, Director
Jonas Rivera, Producer
Steve May, Supervising Technical Director
Gary Bruins, Effects Supervisor

Outstanding Visual Effects in a Broadcast Miniseries, Movie or a Special

ALICE – Night 2
Lee Wilson, VFX Supervisor
Lisa Sepp-Wilson, VFX Producer
Sebastien Bergeron, DFX Supervisor
Les Quinn, CG Supervisor

BEN 10: ALIEN SWARM – Montage
Evan Jacobs, Visual Effects Supervisor
Sean McPherson, Visual Effects Supervisor
Andrew Orloff, Visual Effects Supervisor

DISNEY PREP AND LANDING – Gadgets, Globes, and other Garish Gizmos
Dorothy McKim, VFX Producer
Scott Kersavage, VFX Supervisor
David Hutchins, EFX Animator
Kee Suong, EFX Animator

INFESTATION
PJ Foley, VFX Producer
Efram Potelle, VFX Supervisor
James May, Technical Director
Dan DeEntremont, Animator

SKELLIG
Sara Bennett, Compositing Supervisor
Jenna Powell, Visual Effects Producer
David Houghton, Visual Effects Supervisor
Jean-Claude Deguara, Senior Animation Supervisor

Outstanding Visual Effects in a Broadcast Series

BATTLESTAR GALACTICA SEASON 4 – Ep. 421 “Daybreak”
Michael Gibson, VFX Producer
Gary Hutzel, VFX Supervisor
Jesse Toves, CGI Artist
Dave Morton, CGI Artist

DEFYING GRAVITY – Pilot
Sam Nicholson, VFX Producer
Dale Fay, VFX Supervisor
Mike Yip, 3D Lead Artist
Jared Jones, Lead Compositor

FRINGE – Ep. 206 “Earthling”
Jay Worth, VFX Supervisor/Producer
Robert Habros, VFX Supervisor
Andrew Orlaff, VFX Supervisor
Eric Hance, Visual Effects Artist

STARGATE UNIVERSE – Air
Mark Savela, VFX Supervisor
Shannon Gurney, VFX Producer
Andrew Karr, CGI Supervisor
Craig Vandenbiggelaar, Digital Effects Supervisor

V- Pilot
Andrew Orloff, VFX Supervisor
Karen Czukerberg, VFX Producer
Chris Zapara, VFX Supervisor
Johnathan R. Banta, Lead Compositor

Outstanding Supporting Visual Effects in a Broadcast Program

CSI CRIME SCENE INVESTIGATION – Ep. 1001 “Opening Sequence”
Rik Shorten, VFX Supervisor
Sabrina Arnold, VFX Producer
Steve Meyer, Compositor
Derek Smith, Compositor

FLASH FORWARD – No More Good Days
Kevin Blank, Visual Effects Supervisor
Andrew Orloff, VFX Producer
Steve Meyer, 2D Supervisor
Jonathan Spencer Levy, Facility VFX Supervisor

KINGS – Ep. 001 “Goliath”
Craig Weiss, VFX Supervisor
Ron Moore, VFX Producer
Niel Wray, CG Supervisor
Brian Vogt, Lead Lighting TD

KRUPP-EINE DEUTSCHE FAMILIE – Krupp
Thomas Tannenberger, Visual Effects Supervisor
Olcun Tan, Digital Effects Supervisor
Mark Kolpak, Visual Effects Producer
Shane Cook, Compositing Supervisor

LOST – The Incident Part 1 & 2
Mitch Suskin, Visual Effects Supervisor
Samantha Mabie-Tuinstra, Visual Effects Producer
Eric Hance, Supervising Artist
Sean Scott, Character Animator

Best Single Visual Effect of the Year

2012 – Escape from L.A.
Volker Engel, Visual Effects Supervisor
Marc Weigert, Visual Effects Supervisor
Josh R. Jaggars, Visual Effects Producer
Mohen Leo, Visual Effects Supervisor

AVATAR – Quarich’s Escape
John Knoll, Visual Effects Supervisor
Jill Brooks, Visual Effects Producer
Frank Losasso Petterson, Simulation Technical Director
Tory Mercer, Compositor

AVATAR- Neytiri Drinking
Joe Letteri, Senior Visual Effects Supervisor
Joyce Cox, Overall VFX Producer
Eileen Moran, VFX Producer
Thelvin Cabezas, Lighting Technical Director

KNOWING – Plane Crash
Andrew Jackson, VFX Supervisor
Camille Cellucci, VFX Producer
Dan Breckwoldt, Lead Compositor
Angelo Sahin, Special Effects Supervisor

TERMINATOR SALVATION – VLA Escape
Charles Gibson, Studio Visual Effects Supervisor
Chantal Feghali, Studio Producer
Ben Snow, Visual Effects Supervisor
Susan Greenhow, Visual Effects Producer

Outstanding Visual Effects in a Commercial

The logo for VES, and the actual trophy are modeled after the moon in "Le Voyage dans la Lune," the 1902 Georges Méliès film.

AMF – The Caterpillar
Asher Edwards, VFX Producer
Robert Sethi, VFX Supervisor
Becky Porter, Lead Compositor
Jamie O’Hara, Lead Character Modeller

AUDI – Intelligently Combined
Jay Barton, Visual Effects Supervisor
Rafael F. Colon, Sr. Compositor
Ronald Herbst, CG Supervisor
Chris Fieldhouse, Visual Effects Producer

KERRY LOWLOW – Mouse
Jake Mengers, VFX Supervisor
Stephen Newbold, VFX Supervisor
Ashley Bernes, Effects TD
Louisa Cartwright Tucker, VFX Producer

PEPSI – The Flight of the Penguin
Murray Butler, VFX Supervisor/Lead Flame
Seth Gollub, Animation Lead
Andy Walker, VFX Supervisor, Technical Lead
Jenn Dewey, Senior VFX Producer

PLANE STUPID – Polar Bears
Jake Mengers, VFX Supervisor
Vicky Osborn, CG Artist
Suzanne Jandu, Compositor
Scott Griffin, VFX Producer

Outstanding Visual Effects in a Special Venue Project

BEYOND ALL BOUNDARIES – Multi-plane Visual Effects
Daren Ulmer, Visual Effects Supervisor
Cedar Conner, Lead Compositor
Susan Beth Smith, Visual Effects Producer

DANCE OF THE DRAGONS – Eastern
Derry Frost, VFX Supervisor
Michael Morreale, VFX Producer

Outstanding Real Time Visuals in a Video Game

CALL OF DUTY: MODERN WARFARE 2 – Gulag Extraction
Mark Rubin, Producer
Richard Kriegler, Art Director
Robert Gaines, Lead Visual Effects Artist
David Johnson, Visual Effects Artist

FIGHT NIGHT ROUND 4 – Gameplay
Frank Vitz, CG Supervisor
Jenny Freeman, Art Director
Jeff Atienza, Producer
Ben Ross, Lead Character Artist

NEED FOR SPEED SHIFT – World Sequence
Andreas Moll, Art Director
Sven Moll, Art Director
Dave Flynn, Development Director – World
Robert Dibley, Lead Rendering Software Engineer

UNCHARTED 2: AMONG THIEVES
Evan Wells, Game Producer
Christophe Balestra, Technical Lead

Outstanding Visual Effects in a Video Game Trailer

DJ HERO
Diarmid Harrison-Murray, VFX Supervisor
Sarah Hiddlestone, Senior CG Producer
Marco Puig, Art Director
Jamie Jackson, Game Producer

HALO 3: ODST – The Life
Robert Moggach, VFX Supervisor
Ryan Meredith, VFX Producer
Jens Zalzala, CG Supervisor
Michael Pardee, Executive Producer

MASS EFFECT 2
Tim Miller, VFX Producer
Brandon Riza, VFX Supervisor
Dave Wilson, GC Supervisor

STAR WARS: THE OLD REPUBLIC
Tim Miller, VFX Producer
Brandon Riza, VFX Supervisor
Dave Wilson, GC Supervisor

Outstanding Animated Character in a Live Action Feature Motion Picture

AVATAR – Neytiri
Joe Letteri, Senior Visual Effects Supervisor
Andrew R. Jones, Animation Director
Jeff Unay, Facial Lead
Zoe Saldana, Actress

DISTRICT 9 – Christopher Johnson
Steve Nichols, Animation Supervisor
Jeremy Mesana, Animation Lead
Vera Zivny, Senior VFX Coordinator
Brett Ineson, Motion Capture Supervisor

G-FORCE – Bucky
Benjamin Cinelli, Senior Character Animator
Dustin Wicke, Lead Cloth and Hair
Peter Tieryas, Character Set-Up Technical Director
Ryan Yee, Animator

WATCHMEN – Doctor Manhattan
Keith Smith, Lead Animator
Kevin Hudson, CG Modeling Supervisor
Victor Schutz, Lead CG Lighting and Compositing Artist
Aaron Campbell, Character Rigger

Outstanding Animated Character in an Animated Feature Motion Picture

CORALINE – ‘CORALINE’
Travis Knight, Lead Animator
Trey Thomas, Lead Animator

ICE AGE: DAWN OF THE DINOSAURS – Buck
Simon Pegg, Buck
Peter de Seve, Characters designed by

MONSTERS VS. ALIENS – B.O.B.
David Burgess, Head of Character Animation
Scott Cegielski, Effects Lead
Terran Boylan, Character Technical Director
David Weatherly, Animator

UP – Carl – “No Dad Scene”
Ed Asner, Voice of Carl
Ron Zorman, Animator
Brian Tindall, Character Modeling and Articulation Artist
Carmen Ngai, Character Cloth Artist

Outstanding Animated Character in a Broadcast Program or Commercial

AMF – The Caterpillar
Robert Sethi, Lead CG Artist
Jamie O’Hara, Lead Character Modeller
Steve Beck, Lead Character Animator
Becky Porter, Lead Compositor

DISNEY PREP AND LANDING – Wayne
David Foley, Voice of Wayne
Mark Mitchell, Supervising Animator
Hidetaka Yosumi, Character Technical Director
Leo Sanchez Barbosa, Modeler

EVIAN – Skating Babies
Jorge Montiel Meurer, Lead Animator
Wayne Simmons, Animator
Jordi Onate, Animator
Emanuele Pavarotti, Animator

PEPSI – Penguin – “The Flight of the Penguin”
Andy Walker, VFX Supervisor, Technical Lead
Seth Gollub, Animation Lead
James Dick, Technical Director
Spencer Leuders, Technical Director

Outstanding Effects Animation in an Animated Feature Motion Picture

CLOUDY WITH A CHANCE OF MEATBALLS
Rob Bredow, VFX Supervisor
Dan Kramer, Digital Effects Supervisor
Matt Hausman, Effects Animation Supervisor
Carl Hooper, Effects Animation Supervisor

CORALINE
John Allan Armstrong, VFX Animator
Richard Kent Burton, Stop Motion Effects Animator
Craig Dowsett, CG Modeler

MONSTERS VS. ALIENS
Amaury Aubel, Effects Lead
Scott Cegielski, Effects Lead
Alain De Hoe, Effects Lead
David Allen, Effects Animator

UP
Jason Johnston, Effects Artist
Alexis Angelidis, Effects Artist
Jon Reisch, Effects Artist
Eric Froemling, Effects Artist

Outstanding Matte Paintings in a Feature Motion Picture

AVATAR – Pandora
Yvonne Muinde, Lead Matte Painter
Brenton Cottman, Lead Matte Painter
Peter Baustaedter, Senior Matte Painter
Jean-Luc Azzis, Senior Compositor

FRANKLYN – Meanwhile City Scapes
Tania Richard, Matte Painter
Christoph Unger, Matte Painter

HARRY POTTER AND THE HALF-BLOOD PRINCE
Tania Richard, Matte Painter
David Bassalla, TD
Emily Cobb, 3D Artist

STAR TREK
Brett Northcutt, Digimatte Lead
Shane Roberts, Digimatte
Masahiko Tani, Digimatte
Dan Wheaton, Digimatte

Outstanding Matte Paintings in a Broadcast Program or Commercial

KAISER PERMANENTE – Emerald City
Ben Walker, Matte Painter
David Woodland, Matte Painter
Kim Taylor, Matte Painter
Ben Walsh, Matte Painter

Outstanding Models and Miniatures in a Feature Motion Picture

AVATAR – Samson/Home Tree / Floating Mountains / Ampsuit
Simon Cheung, Senior Modeller
Paul Jenness, Lead Modeller
John Stevenson-Galvin, Senior Modeller
Rainer Zoettl, Senior/Lead Modeller

CORALINE
Deborah Cook, Lead Costume Design Fabricator
Paul Mack, Model Maker
Martin Meunier, Facial Animation Design
Matthew DeLeu, Miniature Lighting Technician

NIGHT AT THE MUSEUM: BATTLE OF THE SMITHSONIAN – National Air and Space Museum Escape
Ian Hunter, VFX Supervisor
Forest Fischer, Model Crew Chief
Robert Chapin, Digital FX Supervisor
Tony Chen, Model Maker

TERMINATOR SALVATION – Practical Models and Miniatures
Brian Gernand, Creative Director, Model Shops
Geoff Heron, Special FX Supervisor
Nick d’Abo, Model Shop Supervisor
Patrick Sweeney, Director of Photography

Outstanding Created Environment in a Feature Motion Picture

Image borrowed from cgsociety.org

2012 – Los Angeles Destruction
Haarm-Pieter Duiker, CG Supervisor
Marten Larsson, CG Effects Animation Lead
Ryo Sakaguchi, CG Effects Animation Lead
Hanzhi Tang, CG Lighting Supervisor

AVATAR – Floating Mountains
Dan Lemmon, Visual Effects Supervisor
Keith F. Miller, CG Supervisor
Cameron Smith, Lead Compositor
Jessica Cowley, Senior Texture Painter

AVATAR – Jungle / Biolume
Eric Saindon, Visual Effects Supervisor
Shadi Almassizadeh, CG Supervisor
Dan Cox, CG Supervisor
Ula Rademeyer, Lead Texture Painter

AVATAR – Willow Glade
Guy Williams, Visual Effects Supervisor
Thelvin Cabezas, Lighting Technical Director
Daniel Macarin, Lighting Technical Director
Miae Kang, Lead Lighting Technical Director

Outstanding Created Environment in a Broadcast Program or Commercial

AMC THEATERS / COKE – Magic Chairs
Rob Nederhorst, VFX Supervisor
Dariush Derakhshani, CG Supervisor
Steve Cummings, CG Artist
Harry Michalakeas, Technical Director

ASSASSINS CREED: LINEAGE – Ep. 1 “Duke of Milan Assassination”
Mathieu Lalonde, CG Modeler
Nadine Homier, Compositor
Joseph Kasparlan, Lead Textures and Lighting
Christian Morin, Compositor

FLASH FORWARD – Pilot “Freeway Overpass”
Steve Meyer, Compositor
Colin Feist, Compositor
Paul Ghezzo, CG Supervisor
Roger Kupelian, Matte Painter

V – Pilot “Atrium and Ship Interiors”
Chris Zapara, VFX Supervisor
Chris Irving, Lead Compositor
David Morton, Matte Painter
Trevor Adams, CG Artist

Outstanding Compositing in a Feature Motion Picture

AVATAR
Erik Winquist, Compositing Supervisor
Robin Hollander, Compositor
Erich Eder, Compositor
Giuseppe Tagliavini, Compositor

AVATAR – End Battle
Eddie Pasquarello, Compositing Supervisor
Beth D’Amato, Digital Paint
Todd Vaziri, Compositor
Jay Cooper, Technical Director

DISTRICT 9
Shervin Shogian, Compositing Supervisor
Hamish Schumacher, Lead Compositor
Janeen Elliott, Senior Compositor
Simon Hughes, Senior Compositor

SHERLOCK HOLMES – Wharf Explosion Sequence
Kate Windibank, Senior Compositor
Jan Adamczyk, Mid Compositor
Sam Osborne, Compositor
Alex Cumming, Junior Compositor

Outstanding Compositing in a Broadcast Program or Commercial

CSI CRIME SCENE INVESTIGATION – Ep 1001 Opening Sequence
Derek Smith, Compositor
Christina Spring, Compositor
Steve Meyer, VFX Supervisor
Zach Zaubi, Compositor

KERRY LOWLOW ‘MOUSE’ – Overall
Jake Mengers, VFX Supervisor
Stephen Newbold, VFX Supervisor
Kelly Bruce, Compositor
Greg Howe-Davies, Compositor

PEPSI – The Flight of the Penguin
Murray Butler, VFX Supervior/Lead Flame
Ben Cronin, Senior Flame Operator
Andy Rowan-Robinson, Technical Director
Miyuki Shimamoto, Flame Operator

PORSCHE – Family Tree
Tim Davies, VFX Supervisor/Lead Compositor
Jeff Willette, Lead Technical Designer
Zach Tucker, CG Supervisor

Outstanding Visual Effects in a Student Project

THE FULL MOON MYSTERY – The Discovery
David Goubitz, VFX Supervisor & Producer
Flip Buttinger, VFX Supervisor & Producer
Jeffrey De Vore, Director

MOTHERLAND
Hannes Appell

THEY WILL COME TO TOWN
Thilo Ewers

URS – Cliff
Moritz Mayerhofer, Graduate