Celebrating the two films that helped DNEG achieve a double nomination for the ‘Best Visual Effects’ Oscar® this year!
With the 94th annual Academy Awards® fast-approaching, join us in recognizing the spectacular work our teams delivered on ‘Dune’ and ‘No Time to Die’, both nominated for the ‘Best Visual Effects’ Oscar® this year.
No Time To Die
Nominees: Charlie Noble, Joel Green, Jonathan Fawkner and Chris Corbould.
‘No Time To Die’ is the first Bond film to be nominated for the VFX Oscar® since 1980’s ‘Moonraker’. Led by Production VFX Supervisor Charlie Noble and DNEG VFX Supervisor Joel Green, our DNEG team delivered approximately 500 shots on the film as lead VFX partner.
Contributing to thirty of the film’s most memorable sequences, the DNEG team brought soaring gliders, sinking trawlers and an explosive final act to the screen. Undetectable digi-doubles, elaborate CG assets, detailed FX simulations and extensive environments helped lay the backdrop for Bond’s latest adventure.
‘No Time to Die’ also marks the first Bond film ever to be offered in 3D. All 2,397 shots were converted solely by the DNEG Stereo Conversion team. In addition to a VES Award nomination for ‘Outstanding Visual Effects in a Photoreal Feature’, the film received a BAFTA nomination for ‘Special Visual Effects’ — the fourth time a Bond film has been nominated for a BAFTA in this category.
The Academy Award® nomination is shared between Charlie Noble, Joel Green, Jonathan Fawkner and Chris Corbould.
Enjoy a closer look at our work in our VFX Breakdown reel below, and learn more here!
Nominees: Paul Lambert, Tristan Myles, Brian Connor and Gerd Nefzer.
Led by Production VFX Supervisor Paul Lambert and DNEG VFX Supervisors Tristan Myles and Brian Connor, our DNEG team delivered over 1,300 VFX shots of the film’s 1,700 total as lead VFX partner.
With meticulous dedication to photorealism, our DNEG crew spent months crafting detailed FX simulations, sweeping environments and creating carefully designed CG assets to bring Denis Villeneuve’s vision to the screen. To capture the unprecedented level of immersion Dune’s visuals required, Lambert replaced blue screens with “sandscreens”, cementing a grounded approach to the DNEG team’s plate capture and digital effects work.
From Ornithopters and whirling sand to the film’s legendary sandworm, DNEG teams embedded reality at every step of the production process. For these efforts, our team has been honoured with the BAFTA for ‘Special Visual Effects’ as well as four VES Awards including ‘Outstanding Visual Effects in a Photoreal Feature’ and multiple critics awards.
The Academy Award® nomination is shared between Paul Lambert, Tristan Myles, Brian Connor and Gerd Nefzer.
Congratulations to both teams on their excellent achievements and well-deserved recognition, and to the other nominees. And fingers crossed for March 27!
Eager to learn more about this year’s nominees? Check out WIRED‘s breakdown below!