Instrumental foxtrot track issued on Edison Records. Pictures from the March 1923 issue of “Kodakery”. Audio from UCSB Cylinder Archive.
A new term: ‘meg-halation’
Posted in: AnimationThat’s what Dneg vfx supe Sean Stranks used when describing his approach to dirtying up the frame for the new Star Trek film. More on OnePerfectShot.
SIGGRAPH 2016 brings new Autodesk Design Animation to Customers: Maya 2017, Arnold and 3ds Max 2017
Posted in: AnimationAt the SIGGRAPH conference in Anaheim, California, Autodesk showcased the latest design animation solutions for Maya 2017 and an update to 3ds Max. Maya 2017 features integrated rendering with Arnold, new motion graphics tools and numerous features and enhancements that help artists work faster and easier than ever. Autodesk also announced that Solid Angle’s Arnold renderer will support 3ds Max with a plugin called MAXtoA.
Maya and Arnold
Maya 2017 now includes Arnold as its default renderer. This unique integration of Arnold into Maya 2017 builds on the popular MToA Arnold plugin and brings advanced rendering capabilities within Maya. For Maya artists, Arnold brings efficiency, power and ease of use, enabling great looking results in a short time.
3ds Max and Arnold
Autodesk is also announcing a new MAXtoA plugin allowing 3ds Max users to take advantage of Arnold’s powerful, production proven rendering capabilities. The plugin will be available from Solid Angle’s website where 3ds Max users can also find details on capabilities of the new plugin.
Maya for Motion Graphics
Maya 2017 includes a full set of 3D tools for creating motion graphics. The MASH procedural toolset, first introduced in Maya 2016 extension 2, has been improved with new nodes and new capabilities that allow designers to quickly create unique animations and motion effects. Maya 2017 also features a more intuitive UI and improvements to 3D text tools that enable artists work faster as they create complex motion graphics, animations and effects.
There are additional Maya 2017 new features that can be found on Autodesk’s official website.
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Magic and mysteries are something that each one of us is keen about, in a skeptical way or the other way round. However, one thing is inevitable; it’s the fact that no one can evade the charm provided by these stories replete with magical adventures, as most of them teach valuable lessons and provide vigour to our journey called ‘life’.
Moana, Disney’s upcoming feature plans to take everyone on a magical journey as the protagonist, a teenager named Moana from presumably the South Pacific Coast sets sails into the heart of the ocean with the demigod, Maui in order to uncover mysteries and finish a pending quest.
While we already knew that Moana would be voiced by Auli’i Cravalho, a 14 year old Hawaiian girl and Maui will be brought to life by none other than Dwayne ‘The Rock’ Johnson, now during the San Diego Comic-Con, the makers of the film have finally revealed the rest of the voice cast for the animated adventure flick.
Behold!
Voiced by Temura Morrison (Star Wars: Episode II – Attack of the Clones, Seven Nights), Chief Tui is the courageous leader of Moana’s tribe, Motunui and her father as well. Nicole Scherzinger (Grammy-nominated singer for West End’s ‘Cats’) will be voicing Sina, Moana’s mother who always stands up for her daughter and her calling for the ocean, but is witty enough to know that there are great dangers beyond the reef and into the ocean.
Rachel House (Whale Rider, Hunt for the Wilderpeople) will be bringing life to Moana’s cheerful grandmother, Gramma Tala. She is the little girl’s confidante and supports her throughout.
Alan Tudyk (Zootopia, Wreck-It Ralph, Big Hero 6) will voice HeiHei, the goofy village roster, who ends up on an unintended adventure with Moana.
Jemaine Clement (The BFG, Despicable Me) will be lending his voice to Tamatoa. Living in Lalotai, the crab is described as “a self-absorbed, 50-foot crab … who wants to be more than a ‘bottom feeder’ and overcompensates for this perceived shortcoming by covering himself in all things shiny.”
The cast also includes the Kakamora, a band of coconut-armoured pirates, who are crazy enough to follow anything until they get it!
We also have Pua, Moana’s innocent pet pig with an incredibly infectious energy, and an adorably cute look.
Directed by Ron Clements and John Musker, the movie is set to release worldwide this year on 23 November.
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Autodesk upgrades VR capabilities and 3D Animation Tools for Indie Game Developers at SIGGRAPH 2016
Posted in: AnimationAt SIGGRAPH 2016, Autodesk unveiled its latest version of 3D animation and modeling software for indie game developers (Autodesk Maya LT 2017), as well as Autodesk Stingray 1.4, the newest version of its 3D game engine and real-time rendering solution.
One of the most significant updates for Maya LT is the time editor, a new tool which helps indie game developers streamline animation of complex characters. Additional updates include improvements to existing animation tools and a new way to organise the tools and user interface (UI) into customised workspaces.
Additional highlights include:
Autodesk Maya LT 2017 Additional Features:
An updated graph editor has many new features including a UI/UX refresh that aims on simplifying day-to-day tasks.
Shape authoring tool improvements in Maya LT provide artists with more control to create, tweak, and correct animations in a very detailed way.
Viewport 2.0 improvements facilitate faster selection performance for scenes with large numbers of nodes and scenes containing hidden objects.
Vertex order transfers and corrections make it easier to work between different game creation tools, without losing data as an asset moves through the pipeline.
Autodesk Stingray 1.4 Additional Features:
The Stingray 1.4 release offers improved VR capabilities and enhanced connectivity with Maya LT, facilitating a powerful art-to-engine workflow for game developers.
Improved support for VR platforms includes compatibility with the Oculus Rift SDK v1.3 and the SteamVR SDK v0.9.19.
Flow scripting for HTC Vive controllers offers a faster and more efficient way to add interactivity to VR experiences, while simplifying the process for designers to create and test their prototypes.
Unique to Stingray, support for WebGL2 enables developers to test their projects on WebGL2 supported browsers.
Level sync, with Maya LT, enables artists to link and export entire scenes directly to Stingray. This creates an easier way to build, iterate, review and change game levels and design scenes, without having to manually reproduce layouts in two tools.
Easier asset share between different Stingray projects to further benefit collaborative work environments.
NavMesh improvements for better AI behaviour.
Edit UV scale and offset values in materials exported from Maya LT allows users to continue edit UV tiling in Stingray.
Maya LT 2017 is available globally via subscription. Subscribers of Maya LT receive access to Stingray 1.4 as part of their subscription.
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Tripping over Doctor Strange’s trailer? Untangling the confusion left by Strange
Posted in: Animation“Stephan Strange, mind if I offer you some advice? Forget everything that you think you know.”
This line which we heard in the teaser trailer of Doctor Strange seems to be not just for Strange but for all of us as Marvel released Doctor Strange’s trailer at San Diego Comic-Con. And boy-oh-boy did it make us marvel and left us pondering on what the movie would be all about.
So far we have seen mutants, metahumans, tech savvy superheroes, gods and alien attacks taking place in the Marvel Cinematic Universe. However, with Doctor Strange coming into the picture, it’s set to bring in elements and powers which the audiences may have never imagined of: a Marvel Cinematic Multiverse.
The multiverse concept is something that DC fans will be able to relate with The Flash wherein he could be seen travelling between one Earth to another with the help of his speed, gaining him access to the multiple realities / universes (can be witnessed on The Flash season 2). “Flash of Two Worlds!” was a landmark comic book story that was published in The Flash #123 (September 1961). A concept which would be relatively new for the Marvel movie / TV series fans. Inspired by storytellings of black magic and Chandu the Magician, Doctor Strange first appeared in Strange Tales #110 (cover-dated July 1963).
With the idea of multiverse coming into the picture and as observed from the trailer, a city’s (mostly New York) multiverses can be seen folding into one another, probably indicating destruction. This would open many possibilities in the Marvel Cinematic Universe especially in the upcoming Avengers: Infinity War movie that’s set to release post Doctor Strange release.
As far as the villain is considered, Mads Mikkelsen can be seen portraying the role of Kaecilius, a disciple of Baron Mordo. In the comicverse, Baron Mordo has been a fierce rival of Doctor Strange as the Ancient One chose Strange over Mordo (trailer paints a different picture). In the trailer released at SDCC, we can hear Kaecilius saying, “I’m death and pain. You will die protecting this world.”
Describing the character, Feige said, “(He) believes that the Ancient One is just protecting her own power base and that the world may be better off if we were to allow some of these other things through.” Mikkelsen added, “He’s not a villain in that way – he’s a man who believes in something else than the hero. That doesn’t mean that he doesn’t want to make the planet look wonderful or he wants to save the world as well, but he has a different way of doing it. He is the antagonist, of course, but he’s not necessarily wrong.”
Coming back to Baron Mordo, Chiwetel Ejiofor plays the role of Karl Mordo (original name Baron Karl Amadeus Mordo) and can be unexpectedly seen in a positive light who becomes Strange’s mentor. Ejiofor noted this, saying, Mordo is “very ambiguous” and “a very complex character that, really, I don’t think can be nailed down either way.” Mordo also seems to have a certain liking towards Strange and believes there’s a certain quality in him as he says, “There’s a strength to him.” Will we ever get to see the villainous Mordo as observed in the comic books? Director Scott Derrickson stated the “antagonism between Mordo and Strange” is in place to explore in the future.
As far as the Ancient One played by Tina Swinton is considered, she’s the one who seems to be looking for him as in the end of the trailer she says, “I’ve spent so many years, hearing through time, looking for you.” As opposed to the comic book universe wherein the Ancient One is depicted by a Tibetan man with a long beard, over here a female can be seen portraying the role. Swinton stated that the character’s gender is “all in the eye of the beholder”. Producer Kevin Feige said, “we use the terms ‘her’ and ‘she’ in the film but, other than that, it’s very androgynous.”
As for Benedict Cumberbatch who plays the protagonist Stephen Strange is considered, so far he has managed to captivate us with his stellar acting skills. From the teaser trailer and the SDCC trailer, there’s an imminent shift in his persona; from an arrogant neurosurgeon who never believed in energies, the power of belief or chakras, can be seen desperately wanting to learn the mystic arts; however at the same time, he’s sceptical about his own powers as he says, “I can’t do this” to which Mordo states, “There is no other way.”
The psychedelic trailer right from its beginning with its kaleidoscopic visuals managed to grip its viewers, wanting to watch it again and again, trying to comprehend the strangeness looming in the clip. All the answers to our questions will be answered on 4 November, 2016.
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It’s all about meeting people, sharing ideas and learning from each other at THU
Posted in: Animation‘Time does not make history; people do!’ You open your mind and broaden your perspective not when you speak but when you listen. People’s stories, their thoughts, ideas, situations, problems, creativity, interests and lifestyles may considerably differ from what you are or what you believe in. But it is only when you encounter such people, cross your paths with their varied backgrounds, get to know their story and learn from whatever they are willing to impart that you grow, upgrade and transform into a better individual.
We are constantly on the quest to upgrade ourselves and fill our cup of knowledge. The internet seems to be the ideal knowledge provider but definitely everything around us has far more information to share for it comes down to a simple belief- Everybody around you has a story to tell. With a multitude of people from all backgrounds, Trojan Horse was a Unicorn (THU) is an event that focuses on bringing global knowledge to the attendees with the goal to inspire them to be better artists and better human beings.
The unique creative event Trojan Horse was a Unicorn (THU) returns to Tróia, Portugal from 19 to 24 September, 2016 with a host of Academy Award-winning speakers. AnimationXpress got in touch with the founder of the festival André Luis to dive deep and dig out what is the event all about.
André Luis says, “Trojan Horse was a Unicorn (THU) is about creativity at 360 degrees. It is a bootcamp in paradise for artists and creators.”
It is the fourth edition of THU and the event has been constantly growing and evolving. “Very quickly, we achieved what so many events or corporations want: we are a community, a real community that we call the THU tribe.”
Well, the goal of THU is making sure everyone shares experiences and networks, and making friends is one of the most important aspects of THU. The event hosts activities from 9 am to 3 am every day which includes from masterclasses to inspirational talks and late-night drawing sessions.
Directors, screenwriters, designers and animators hold masterclasses and give inspirational talks. They bring new content and perspectives that can have a strong impact on the attendees. This year Brenda Chapman, Kevin Lima and Ryan Woodward are among the few Academy Award winning speakers.
A lot of exposure is given to animation, CGI and VFX. Films and various short film projects are a major topic of discussion too. Visionaries come in to talk about tendencies, the market, new projects and technologies, and discuss VR and AR. The whole event revolves around creativity so the AVGC industry fits in quite appropriately as a vast pool of information is shared by various industry experts, upcoming artists and lay people with an inclination towards creativity. So, the maestros share their experience and the curious minds quench their thirst in a fun friendly and enjoyable way.
Though THU is an international event, the recruitment process is really different over here. “We provide an environment like a living room, and instead of just showing their portfolios, all the attendees will be able to get portfolio reviews from the recruiters. This year we will also have an extra day of recruitment exclusively for the attendees who bought tickets to THU TV 2016.”
What’s the fun if you meet people but their ego and pre-conceived notion does not let you meet them entirely? For this very simple reason, THU believes in simplicity and an equal treatment.
“The best part of the event is that there are no VIPs at THU since day 1. Everyone is equal to us. First-time artists or visitors will fit in really well. They will not know the difference, to be honest. Especially since everyone sits, eats, drinks, and walks around in the same place.”
As per THU’s last edition, the event comprises of over 600 attendees from around 59 countries with approximately 100 hours of inspiration. In fact, THU 2016 will cater majorly to various topics from animation to VFX, concept art, 3D, VR, and illustration. So if you are one of those curious minds constantly searching for knowledge and believing in learning from people, then THU has a lot in store for you.
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Shotgun Software, developer of the cloud-based review and production tracking software, has announced Shotgun 7.0 at SIGGRAPH this week in Anaheim, CA. Shotgun is laser-focused on solving collaborative review challenges at studios, and making it easier for teams of all sizes to upload, share, view, and then keep track of all of their media on a single, intuitive platform. This latest update expands Shotgun’s review capabilities by introducing editorial cut data into the review process, enabling teams to view their work at any time, in context with the latest cut.
“VFX and animation studios need to constantly view their latest work in context of the cut, and yet editorial makes continual changes throughout the project,” says Don Parker. “Keeping up with this process manually takes way too much time and can lead to frustrating delays and mistakes. This release is a major step forward, helping teams understand what has changed and allowing artists and supervisors to look at their work in context of the latest cut, both in our web player and on the desktop with RV.”
Shotgun 7.0 Feature Highlights Include:
Import Cut: Editorial information is quickly published to Shotgun, summarizing changes that can be shared with anyone on the project.
Play Cuts Anywhere: With one click, watch the full cut either in the browser or in the Shotgun RV desktop player. Powerful filtering tools control which shot versions show up in the cut, such as “latest,” “latest animation” or “latest approved.”
View any Shot in a Review Session in Context of the Cut: Teams working through shot versions in review sessions can seamlessly switch between viewing the shot in the review playlist and viewing the shot in the context of the cut.
Track Overlapping Cuts: Quickly access a full history of all cuts on a project, including overlapping cuts such as :30, :60, :90 cuts on commercial projects, or both sequence and trailer cuts on film projects.
API Ready: A new data model tracking the cut data is fully exposed in Shotgun’s API so studios with development resources can integrate with their pipelines.
The post Shotgun 7.0 announced by Shotgun Software at SIGGRAPH 2016 appeared first on AnimationXpress.
It’s been more than a year since Pune studio Dropout Games announced their presence in the gaming scene with its debut game Unwynd. Since, then the studio has been busy with their second game which was announced in February 2015.
Blyss the studio’s latest game debuts on the Apple iOS platform today and AnimationXpress.com spoke to Dropout Games, co-founder, Ankush Madad to know more about behind the scenes in the development process of the game and the reason behind the delayed game release.
“Blyss is an ambient ‘procedural’ puzzle experience. Last year, after releasing Unwynd we had developed a prototype called Dotinator and were planning to release the game which would be similar to that of Unwynd. It had level structures, same kind of monetisation but learning from Unwynd we realised that the game in its initial form wouldn’t suffice and appeal to the audience. So we decided to take more time and work on the game further. Instead of having levels, we decided that the game would work wonders with an endless format.
Being a two member team, the problem we faced with Unwynd was that people got exhausted pretty quickly with it and we had to constantly churn out more content. But with an endless format we had to focus less on the content now without it being repetitive. Developing an endless game was something new for us and learning that took up sometime, plus we polished the art with a soothing experience thanks to the new artist on-board Saurabh Bhavsar,” explains Madad.
Blyss is a puzzler where in you have white blocks which look like Mahjong tiles but with a certain number of dots on them. You have to swipe these tiles to remove the dots from them, and each swipe will remove only one dot. But there is a catch you can only swipe in threes and fours and to complete the game all of the squares must be eliminated.
The levels are generated automatically through an algorithm that the studio has developed which has a set criteria such as number of dots, number of blocks you see in each level and how difficult or easy will the level be.
“As you keep progressing, the levels get tougher based on the moves and combos you perform. It is like a procedural and progressive level design that we have implemented. So if you die, the game will again start from an easier level but the good thing is that each time a new level will be generated for you to enjoy,” says Madad.
We turn to the art side of things wherein Madad states, “Before we got an artist on board we tried a similar design we had in Unwynd. We had a very simplistic colour just like we had on Unwynd, however we felt that we were lacking something on the design part. It was like another Unwynd with a different mechanics but similar aesthetics. We had played Threes, Alto’s Adventure and we loved this calming and soothing experience that hit us pretty hard. And we chose to pursue the game in that direction. Meanwhile we got our artist Saurabh Bhavsar onboard from October and he was asked to play these games, get inspired and offer similar kind of experience art wise. We ideated a lot and finally came to the consensus that we could use the similar gameplay but would put different themes which could portray sadness, happiness and other such emotions. We are still working on a few themes which would be out in the next update.”
Unwynd got an Android first release and was later worked upon for the iOS release and the game had a different look altogether. This time the studio has decided to release Blyss on iOS first.
Madad expounds,“If your team has the capability then get your game out on both Appstore and GooglePlay at the same time. However, if your team is small and you wish to focus on a single platform, I’d pick Appstore. Apple does have their featuring section sorted out and it helps a lot, especially if you’re an indie. Their review process is very simple where you submit your game for feature consideration and if it has the required quality, there’s a very high chance that it’d get featured.
Having your own store manager contact has its own perk. They provide feedback from time to time as well as help you put it in front of the Editorial team. From thereon it all boils down to how polished the games are and how much the editors like it. You can get similar results on GooglePlay as well if you’re featured properly but getting there isn’t as easy as it in on the AppStore. Audience on Appstore is also accepting when it comes to paid games as compared to their Android counterparts.”
From what we have seen through a preview of the game, Blyss surely is a beautiful game with serene background music and soothing graphical design to look at while you try to eliminate the dots from the blocks. You are constantly on your toes counting the moves before you actually make the first move making the game all the more fascinating.
The post Dropout Games’ blissful puzzler ‘Blyss’ releases on iOS today appeared first on AnimationXpress.
MTV Video Music Awards 2016
Posted in: AnimationMTV has released the nominations for the MTV Video Music Awards 2016 with a live Facebook announcement, connected with a panoramic mural at First Street Green Art Park in New York’s East Village. The Video of the Year nominees are presented with a wall each: Adele (“Hello”), Beyoncé (“Formation”), Drake (“Hotline Bling”), Justin Bieber (“Sorry”) and Kanye West (“Famous”). Other categories are presented alongside. The mural was created by artists John Paul Ogrodnick and BD White (Drake), Damien Mitchell (Kanye West), Marc Evan (Adele), Resa (Justin Bieber), BKFoxx (Beyonce), @nyc_graffhead, Queen Andrea, Hektad, Giz (Hip Hop), Such and Poem One. Beyoncé has 11 nominations, including Video of the Year for “Formation” and the newest VMA category, Breakthrough Long Form Video, for her groundbreaking HBO special Lemonade. The 2016 MTV Video Music Awards will air live from Madison Square Garden on Sunday, August 28 at 9 p.m. ET/PT.
MTV Video Music Awards 2016 – Video of the Year
Adele – “Hello”
Beyoncé – “Formation”
Drake – “Hotline Bling”
Justin Bieber – “Sorry”
Kanye West – “Famous”
MTV Video Music Awards 2016 – Best Female Video
Adele – “Hello”
Beyoncé – “Hold Up”
Sia – “Cheap Thrills”
Ariana Grande – “Into You”
Rihanna ft. Drake – “Work” (short version)
MTV Video Music Awards 2016 – Best Male Video
Drake – “Hotline Bling”
Bryson Tiller – “Don’t”
Calvin Harris ft. Rihanna – “This Is What You Came For”
Kanye West – “Famous”
The Weeknd – “Can’t Feel My Face”
Best Collaboration
Beyoncé ft. Kendrick Lamar – “Freedom”
Fifth Harmony ft. Ty Dolla $ign – “Work From Home”
Ariana Grande ft. Lil Wayne – “Let Me Love You”
Calvin Harris ft. Rihanna – “This Is What You Came For”
Rihanna ft. Drake – “Work” (short version)
Best Hip Hop Video
Drake – “Hotline Bling”
Desiigner – “Panda”
Bryson Tiller – “Don’t”
Chance The Rapper ft. Saba – “Angels”
2 Chainz – “Watch Out”
Best Pop Video
Adele – “Hello”
Beyoncé – “Formation”
Justin Bieber – “Sorry”
Alessia Cara – “Wild Things”
Ariana Grande – “Into You”
Best Rock Video
All Time Low – “Missing You”
Coldplay – “Adventure Of A Lifetime”
Fall Out Boy ft. Demi Lovato – “Irresistible”
twenty one pilots – “Heathens”
Panic! At The Disco – “Victorious”
Best Electronic Video
Calvin Harris & Disciples – “How Deep Is Your Love”
99 Souls ft. Destiny’s Child & Brandy – “The Girl Is Mine”
Mike Posner – “I Took A Pill In Ibiza”
Afrojack – “SummerThing!”
The Chainsmokers ft. Daya – “Don’t Let Me Down”
Breakthrough Long Form Video
Florence + The Machine – “The Odyssey”
Beyoncé – “Lemonade”
Justin Bieber – “PURPOSE: The Movement”
Chris Brown – “Royalty”
Troye Sivan – “Blue Neighbourhood Trilogy”
Best New Artist
Presented by Taco Bell®
Bryson Tiller
Desiigner
Zara Larsson
Lukas Graham
DNCE
PROFESSIONAL CATEGORIES
Presented by Orbit® Gum
Best Art Direction
Beyoncé – “Hold Up” (Production Designer: Jason Hougaard)
Fergie – “M.I.L.F. $” (Production Designer: Alexander Delgado)
Drake – “Hotline Bling” (Production Designer: Jeremy MacFarlane)
David Bowie – “Blackstar” (Production Designer: Jan Houllevigue)
Adele – “Hello” (Production Designer: Colombe Raby)
Best Choreography
Beyoncé – “Formation” (Choreographer: Chris Grant, JaQuel Knight, Dana Foglia)
Missy Elliott ft. Pharrell – “WTF (Where They From)” (Choreographer: Hi-Hat)
Beyoncé – “Sorry” (Choreographer: Chris Grant, JaQuel Knight, Dana Foglia, Anthony Burrell, Beyoncé Knowles Carter)
FKA Twigs – “M3LL155X” (Choreographer: FKA Twigs)
Florence + The Machine – “Delilah” (Choreographer: Holly Blakey)
Best Direction
Beyoncé – “Formation” (Director: Melina Matsoukas)
Coldplay – “Up&Up” (Director: Vania Heymann, Gal Muggia)
Adele – “Hello” (Director: Xavier Dolan)
David Bowie – “Lazarus” (Director: Johan Renck)
Tame Impala – “The Less I Know The Better” (Director: Canada)
Best Cinematography
Beyoncé – “Formation” (Cinematographer: Malik Sayeed)
Adele – “Hello” (Cinematographer: André Turpin)
David Bowie – “Lazarus” (Cinematographer: Crille Forsberg)
Alesso – “I Wanna Know” (Cinematographer: Corey Jennings)
Ariana Grande – “Into You” (Cinematographer: Paul Laufer)
Best Editing
Beyoncé – “Formation” (Editor: Jeff Selis)
Adele – “Hello” (Editor: Xavier Dolan)
Fergie – “M.I.L.F. $” (Editor: Vinnie Hobbs)
David Bowie – “Lazarus” (Editor: Johan Söderberg)
Ariana Grande – “Into You” (Editor: Hannah Lux Davis)
Best Visual Effects
Coldplay – “Up&Up” (VFX Editor: Vania Heymann)
FKA Twigs – “M3LL155X” (VFX Editor: Lewis Saunders, Jihoon Yoo)
Adele – “Send My Love (To Your New Lover)” (VFX Editor: Sam Sneade)
The Weeknd – “Can’t Feel My Face” (VFX Editor: Bryan Smaller)
Zayn – “PILLOWTALK” (VFX Editor: David Smith)