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[XiaNaphryz]

Full nomination list at the website, here's some of the ones that caught my eye.

Movie related:

Outstanding Visual Effects in a Visual Effects Driven Feature Motion Picture
2012
Volker Engel, Visual Effects Supervisor
Josh Jaggars, Visual Effects Producer
Marc Weigert, Visual Effects Supervisor

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

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

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

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


Outstanding Supporting Visual Effects in a Feature Motion Picture
ANGELS & DEMONS
Angus Bickerton, VFX Supervisor
Mark Breakspear, VFX Supervisor
Ryan Cook, VFX Supervisor
Barrie Hemsley, VFX Producer

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

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

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

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


Outstanding Animation in an Animated Feature Motion Picture
9
Ken Duncan, Animation Supervisor
Jinko Gotoh, Co-Producer
Daryl Graham, Supervising Animator
Joe Ksander, Animation Director

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

CORALINE
Claire Jennings, Animation Producer
Henry Selick, Animation Director

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

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


Best Single Visual Effect of the Year
2012 - Escape from L.A.
Volker Engel, Visual Effects Supervisor
Josh R. Jaggars, Visual Effects Producer
Mohen Leo, Visual Effects Supervisor
Marc Weigert, Visual Effects Supervisor

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

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

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

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


Outstanding Animated Character in a Live Action Feature Motion Picture
AVATAR - Neytiri
Andrew R. Jones, Animation Director
Joe Letteri, Senior Visual Effects Supervisor
Zoe Saldana, Actress
Jeff Unay, Facial Lead

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

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

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


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.
Terran Boylan, Character Technical Director
David Burgess, Head of Character Animation
Scott Cegielski, Effects Lead
David Weatherly, Animator

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


Outstanding Matte Paintings in a Feature Motion Picture
AVATAR - Pandora
Jean-Luc Azzis, Senior Compositor
Peter Baustaedter, Senior Matte Painter
Brenton Cottman, Lead Matte Painter
Yvonne Muinde, Lead Matte Painter

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

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

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


Outstanding Models and Miniatures in a Feature Motion Picture
AVATAR - Samson/Home Tree / Floating Mountains / Ampsuit
Simon Cheung, Modeller
Paul Jenness, Lead Modeller
John Stevenson-Galvin, Senior Modeller
Rainer Zoettl, Senior/Lead Modeller

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

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

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


Outstanding Created Environment in a Feature Motion Picture
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

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

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


Outstanding Compositing in a Feature Motion Picture
AVATAR
Erich Eder, Compositor
Robin Hollander, Compositor
Giuseppe Tagliavini, Compositor
Erik Winquist, Compositing Supervisor

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

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

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

TV/game related:

Outstanding Visual Effects in a Broadcast Series
BATTLESTAR GALACTICA SEASON 4 - Ep. 421 “Daybreak”
Michael Gibson, VFX Producer
Gary Hutzel, VFX Supervisor
Dave Morton, CGI Artist
Jesse Toves, CGI Artist

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

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

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

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


Outstanding Supporting Visual Effects in a Broadcast Program
CSI CRIME SCENE INVESTIGATION – Ep. 1001 “Opening Sequence”
Sabrina Arnold, VFX Producer
Steve Meyer, Compositor
Rik Shorten, VFX Supervisor
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”
Ron Moore, VFX Producer
Brian Vogt, Lead Lighting TD
Craig Weiss, VFX Supervisor
Niel Wray, CG Supervisor

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
Eric Hance, Supervising Artist
Samantha Mabie-Tuinstra, Visual Effects Producer
Sean Scott, Character Animator
Mitch Suskin, Visual Effects Supervisor


Outstanding Real Time Visuals in a Video Game
CALL OF DUTY: MODERN WARFARE 2 - Gulag Extraction
Robert Gaines, Lead Visual Effects Artist
David Johnson, Visual Effects Artist
Richard Kriegler, Art Director
Mark Rubin, Producer

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

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

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


Outstanding Visual Effects in a Video Game Trailer
DJ HERO
Diarmid Harrison-Murray, VFX Supervisor
Sarah Hiddlestone, Senior CG Producer
Jamie Jackson, Game Producer
Marco Puig, Art Director

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

MASS EFFECT 2
Tim Miller, VFX Producer
Brandon Riza, VFX Supervisor

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


Outstanding Created Environment in a Broadcast Program or Commercial
AMC THEATERS / COKE - Magic Chairs
Dariush Derakhshani, CG Supervisor
Steve Cummings, CG Artist
Harry Michalakeas, Technical Director
Rob Nederhorst, VFX Supervisor

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

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

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

 

[user_nat]

If only there was a category for "Outstanding over use of flares".

Star Trek could have won something that way.

 

[XiaNaphryz]

If only there was a category for "Outstanding over use of flares".

Star Trek could have won something that way.

So you're saying our work on the film was just average then?

 

[user_nat]

So you're saying our work on the film was just average then?

Not at all.

I'm was just jokingly suggesting that it would have a guaranteed win if there was a flare related category.

If it were up to me Star Trek would win pretty much every award possible.

 

[Fatalah]

So you're saying our work on the film was just average then?

Great movie, but the run on joke about the film was that lens flare was all over the place. Maybe a directorial decision?

 

[XiaNaphryz]

Great movie, but the run on joke about the film was that lens flare was all over the place. Maybe a directorial decision?

I was just messing with him.

And yes, it was a directorial choice.

 

[Snowman Prophet of Doom]

The lens flare in Star Trek worked very well for what it was trying to achieve. Plus, it was cool.

Anyway, it seems as though Avatar is pretty much dominating this whole thing; I say: good!

 

[Sir Smoke Alot]

This is the one place where I dont mind Avatar winning. They deserved it.

 

[vooglie]

I hope District 9 picks up a few.

 

[XiaNaphryz]

This is the one place where I dont mind Avatar winning. They deserved it.

I'm sure they'll pick up plenty, it's just a question of whether they sweep or not.

 

[sarcastor]

technically Avatar should not win for best animated character since it was 100% motion capture. or probably 99% motion capture and like 1% cleanup. but still, no animators were involved (to the best of my knowledge. please don't kill me if I'm wrong. thank you)

 

[D4Danger]

The plane crash is Knowing should win 'Best Single Visual Effect of the Year'

 

[dmshaposv]

The lens flare in Star Trek worked very well for what it was trying to achieve. Plus, it was cool.

I thought the Lens Flare in Trek was extremely overdone. It worked in some places, but not everywhere.

Anyway, they might as well give all the movie-based awards to Avatar and call it a day.

 

[Marty Chinn]

technically Avatar should not win for best animated character since it was 100% motion capture. or probably 99% motion capture and like 1% cleanup. but still, no animators were involved (to the best of my knowledge. please don't kill me if I'm wrong. thank you)

Yet they still had issues in the rigidness of the animation in a lot of spots. Regardless, I don't think it should win in animation.

 

[Snowman Prophet of Doom]

Yet they still had issues in the rigidness of the animation in a lot of spots. Regardless, I don't think it should win in animation.

Really? I thought that Neytiri was the best-animated character that I've ever seen; in fact, I can't think of any CG animation in that film that I thought felt 'off'.

 

[gdt]

I didn't have a single issue with any of the CG in Avatar. It blows anything ever out of the water.

 

[Marty Chinn]

Really? I thought that Neytiri was the best-animated character that I've ever seen; in fact, I can't think of any CG animation in that film that I thought felt 'off'.

There are moments throughout Avatar where it's jarring to me in the way that they move and it's not like that's how they're supposed to move cuz other times it's fine and looks fairly natural. The biggest offender is when Jake is hanging from the cliff when he's trying to get his flying creature and pulls himself up. The animation there just didn't look weighted right. That's the most glaring but other areas there are just moments where it's off and it pulls me out of the look. It's harder to name those examples without pointing it out as I'm watching it.

I didn't have a single issue with any of the CG in Avatar. It blows anything ever out of the water.

I thought the CG was good for the most part, but there are a lot of areas that just bothered me in some ways or another. Given the scope, sure it's great, but the jarring stuff pulls me away from it. There are parts where it makes me feel like I'm no longer watching a live action film but it feels more like I'm watching a CG movie like Final Fantasy The Spirits Within. So because of that jarring shift, the CG feels a bit off to me. IMO, Davy Jones was not surpassed here and I feel that bar level wasn't met here. That's not to say Avatar was bad, just there's an example of something better. One thing that I didn't like was the shinyness a lot of the objects had. Even on the Navi, there were times where their skin looked fine but then it would look glossy for no reason. It made no sense to me. So things like that I have issues with the CG in Avatar.

 

[NetMapel]

So you're saying our work on the film was just average then?

You worked on the visual effects of Star Trek ?

 

[WillyFive]

The lens flare is what made the new Star Trek.

The music was awesome, the characters were awesome, the story was awesome, but it was the lens flares that made the whole thing new and exciting again.

 

[Veidt]

I was just messing with him.

And yes, it was a directorial choice.

I really don't know why people hated the lens flares. They were great and brought a different, unique feel to the film.
The lens flares are a great part of Star Trek and if the sequel doesn't have them, I might not like it.

These scenes wouldn't have been the same without the lens flare. Lens flare ftw

By the way. Your work on this was phenomenal. Images above are a testimony to this.

 

[Marty Chinn]

I really don't know why people hated the lens flares. They were great and brought a different, unique feel to the film.
The lens flares are a great part of Star Trek and if the sequel doesn't have them, I might not like it.

These scenes wouldn't have been the same without the lens flare. Lens flare ftw

By the way. Your work on this was phenomenal. Images above are a testimony to this.

I'm not sure if it's the same for others, but all the lens flare on the bridge and aboard the ship is what was annoying to me.

 

[WillyFive]

I'm not sure if it's the same for others, but all the lens flare on the bridge and aboard the ship is what was annoying to me.

The lens flares were at it's best on the bridge of the Enterprise, especially when all the characters are talking and the camera orbits around them, it really made the scene very exciting. It is at that point you realize that this is a new Star Trek, and it is the future. No going back.

It would royally suck if the sequel had them toned down. It's the way it completes the part of Star Trek that says the future is bright, which is what Gene Roddenberry wanted all along.

 

[Veidt]

I'm not sure if it's the same for others, but all the lens flare on the bridge and aboard the ship is what was annoying to me.

There was the moment where they see the Enterprise for the first time and the screen goes white for over a second.

The lens flares, even at the bridge, add for some great aesthetics.

The lens flares were at it's best on the bridge of the Enterprise, especially when all the characters are talking and the camera orbits around them, it really made the scene very exciting. It is at that point you realize that this is a new Star Trek, and it is the future. No going back.

It would royally suck if the sequel had them toned down. It's the way it completes the part of Star Trek that says the future is bright, which is what Gene Roddenberry wanted all along.

I agree with you in every sense of the word.

 

[Triple U]

The plane crash is Knowing should win 'Best Single Visual Effect of the Year'

God yes. I rewinded that part like five times when i first saw it.

 

[Marty Chinn]

There was the moment where they see the Enterprise for the first time and the screen goes white for over a second.

The lens flares, even at the bridge, add for some great aesthetics.

Oh I'm not saying get rid of all of them, but I think a reduction of how often or something would be a nice touch. There was just a bit too much of it happening frequently on board.

 

[Dead]

Sometimes the flares were just too much, particularly aboard the enterprise. Sometimes it was veering towards self parody.

 

[Great Rumbler]

The plane crash is Knowing should win 'Best Single Visual Effect of the Year'

If only the rest of the movie could have been as good as that scene.

http://www.youtube.com/watch?v=LDqfmEd4fQ8

 

[Veidt]

Oh I'm not saying get rid of all of them, but I think a reduction of how often or something would be a nice touch. There was just a bit too much of it happening frequently on board.

Good point.

A bit toned down but keeping them noticeably there, would be a great solution.

 

[Messypandas]

I'm not even sure if the lens flare was a visual effect, since i saw one of the docu's with them shining torches into the camera. In any case, i liked them

 

[Thagomizer]

 

[jett]

technically Avatar should not win for best animated character since it was 100% motion capture. or probably 99% motion capture and like 1% cleanup. but still, no animators were involved (to the best of my knowledge. please don't kill me if I'm wrong. thank you)

Of course animators were involved, are you crazy?

 

[Veidt]

I'm not even sure if the lens flare was a visual effect, since i saw one of the docu's with them shining torches into the camera. In any case, i liked them

At certain places such as the bridge, where there's a set. They were done by hand.

Other places though, such as in space, overview of a planet, black-holes etc. Where done digitally by ILM.