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    Home » Visual Effects Society Supports All Efforts For VFX Artists To Work Remotely

    Visual Effects Society Supports All Efforts For VFX Artists To Work Remotely

    By SPWMonday, March 23, 2020Updated:Tuesday, May 14, 2024No Comments5411 Views
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    LOS ANGELES -- (SPW) --

    Today, the Visual Effects Society (VES), the industry’s professional global honorary society, issued the following statement and resources in light of the ongoing COVID-19 crisis.

    At this time of crisis, supporting the health and safety of our global visual effects workforce is of vital importance. Many visual effects practitioners are still hard at work at studios and facilities around the world, when they might prefer to work remotely in this difficult time. Municipalities worldwide have been enacting stringent public health protocols to help curb the spread of COVID-19, and that includes strong guidance for employees to work from home, whenever possible.

    The Visual Effects Society wants to encourage all employers — large or small — to grant permission for their employees to work remotely during this unprecedented COVID-19 pandemic. We understand the concerns around security to protect proprietary work product, but right now is the time for the utmost flexibility towards VFX artists and all practitioners as we try to figure our way through this crisis. Many companies are trying to take action, and we are optimistic that studios and vendors can find and enact workable solutions.

    To aid this transition to remote work, the VES Technology Committee has issued best practices and guidance for working from home, culled from studios, vendors and facilities. The recommendations are designed to help the VFX community by providing technical solutions to common problems practitioners may encounter in preparing and adapting to work from home workflows, acknowledging the security and technical issues involved.

    Read the full cadre of work at home best practices here: https://docs.google.com/document/d/1iP1AWDAMvNlymT626PQbKUfC52wqyIhoqoGsNn-nOLA/preview

    About the Visual Effects Society
    The Visual Effects Society is a professional global honorary society dedicated to advancing the arts, sciences and applications of visual effects and to upholding the highest standards and procedures for the visual effects profession. It is the entertainment industry's only official organization representing the extended global community of visual effects practitioners, including supervisors, artists, producers, technology developers, educators and studio executives. VES’ more than 4,000 members in 40 countries worldwide contribute to all areas of entertainment – film, television, commercials, animation, music videos, games, new media and special venues. To learn more about the VES, visit www.visualeffectssociety.com and follow us on Twitter: @VFXSociety. Read VFX Voice, our award-winning signature print and digital publication, at www.vfxvoice.com.

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    www.visualeffectssociety.com

    Naomi Goldman
    NLG Communications
    (424) 293-2113
    Contact via email
    SPW Category:Industry Association, Union, Guild News
    Tags:work at home best practicesCOVID-19VESVisual Effects Society



    Cinematographer Ashley Connor on 70s Inspired Look of HBO’s “The Chair Company”

    Friday, January 2, 2026
    "The Chair Company" is streaming on HBO.

    HBO’s new comedy The Chair Company, which follows Ron investigating a conspiracy after an embarrassing incident at work, has been receiving glowing critical reviews for its entire run.  Ashley Connor, the cinematographer behind the show, shared with us how she moved away from a classic glossy look associated with the genre and pushed the 70s and 80s thriller aesthetic.  The Chair Company looks so much different from what one might expect a comedy to look like. How did you first approach creating the look for the show, and how did you amp up the tension with your camera movement? Andrew DeYoung (the pilot director) and I knew we wanted the photography to lean into genre and be in conversation with thrillers we loved from the '70s and '80s. We wanted Ron’s journey throughout the season to be reflected and enhanced by the way we film him - long zooms into his face and frenetic camera movement were ways we brought the audience into his perspective. My team was super talented and quick, which helped accomplish the dolly moves we used for most of the season. What camera and lens did you use? And why? We shot on the Alexa 35 because I wanted to build texture into the digital negative. Our main lenses were rehoused K35s and a Cooke 25 - 250 zoom lens. I had used this combination in the past and was very pleased with the level of character the lenses brought. We were actively trying to push our lenses to their breaking point in terms of being wide open or adding extenders to get a little more built-in flavor. Apparently, you distorted... Read More

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