The delicate way in which “invisible” visual effects were used to make Sam Mendes’ World War I drama 1917 appear as if it were one uninterrupted take claimed the Oscar in visual effects on Sunday.
It is the second Oscar for Guillaume Rocheron, who previously won in the category for Life of Pi; the first for Greg Butler (his second nomination); and the first for Dominic Tuohy (his third nomination), who also was nominated this year for the VFX on Star Wars: The Rise of Skywalker.
They topped a competitive field that also included Avengers: Endgame, The Lion King and The Irishman as nominees.
This year, the art of VFX has been driven by topics of advancements, particularly in de-aging and virtual production.
Asked backstage where he sees his field heading, Rocheron said, “I think it’s about being able to tell new stories. I don’t think it’s about a specific technology. Now I really do think you can make pretty much anything, if you put enough talented people at it.”
“I don’t think it’s going to go in a very specific direction,” he added. “But I think the tool set is more accessible than ever for people, for directors and producers to evolve with their stories.”
The work on 1917 was completed by Technicolor-owed VFX house MPC, which was also behind the work on The Lion King. On stage, Rocheron thanked the “team of 600 artists at MPC and our fantastic special effects team.”
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