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The Revenant Nominations List Achievement in Cinematography 1
The Revenant nominations list Achievement in cinematography 1 Achievement in costume design 2 Achievement in directing 3 Achievement in film editing 4 Achievement in makeup and hairstyling 5 Achievement in production design 6 Achievement in sound editing 7 Achievement in sound mixing 8 Achievement in visual effects 9 Best motion picture of the year 10 Performance by an actor in a leading role 11 Performance by an actor in a supporting role 12 Oscars® 2016 Movie Checklist 13 Academy of Motion Picture Arts and Sciences Page 1 1. NOMINATIONS BY CATEGORY - 88TH AWARDS Performance by an actor in a leading role Bryan Cranston in “Trumbo” (Bleecker Street) Matt Damon in “The Martian” (20th Century Fox) Leonardo DiCaprio in “The Revenant” (20th Century Fox) Michael Fassbender in “Steve Jobs” (Universal) Eddie Redmayne in “The Danish Girl” (Focus Features) Performance by an actor in a supporting role Christian Bale in “The Big Short” (Paramount) Tom Hardy in “The Revenant” (20th Century Fox) Mark Ruffalo in “Spotlight” (Open Road Films) Mark Rylance in “Bridge of Spies” (Walt Disney and 20th Century Fox) Sylvester Stallone in “Creed” (Warner Bros.) Performance by an actress in a leading role Cate Blanchett in “Carol” (The Weinstein Company) Brie Larson in “Room” (A24) Jennifer Lawrence in “Joy” (20th Century Fox) Charlotte Rampling in “45 Years” (Sundance Selects) Saoirse Ronan in “Brooklyn” (Fox Searchlight) Performance by an actress in a supporting role Jennifer Jason Leigh in “The Hateful Eight” (The Weinstein Company) Rooney Mara in “Carol” (The Weinstein Company) Rachel McAdams in “Spotlight” (Open Road Films) Alicia Vikander in “The Danish Girl” (Focus Features) Kate Winslet in “Steve Jobs” (Universal) Academy of Motion Picture Arts and Sciences PagePage 2 2. -
A TRIBUTE to OSWALD MORRIS OBE, DFC, AFC, BSC Introduced by Special Guests Duncan Kenworthy OBE, Chrissie Morris and Roger Deakins CBE, ASC, BSC
BAFTA HERITAGE SCREENING Monday 23 June 2O14, BAFTA, 195 Piccadilly, London W1J 9LN THE HILL: A TRIBUTE TO OSWALD MORRIS OBE, DFC, AFC, BSC Introduced by special guests Duncan Kenworthy OBE, Chrissie Morris and Roger Deakins CBE, ASC, BSC SEAN CONNERY AND HARRY ANDREW IN THE HILL THE (1965) Release yeaR: 1965 Transport Command, where as a Flight Lt. he flew Sir Anthony Runtime: 123 mins Eden to Yalta, Clement Attlee to Potsdam, and the chief of the DiRectoR: Sidney Lumet imperial general staff, Lord Alanbrooke, on a world tour. cinematogRaphy: Oswald Morris After demobilization, Ossie joined Independent Producers at With special thanks to Warner Bros and the BFI Pinewood Studios in January 1946 and was engaged as camera operator on three notable productions; Green For Danger, Launder and Gilliat’s comedy-thriller concerning a series of orn in November 1915 Oswald Morris was a murders at a wartime emergency hospital; Captain Boycott, a 1947 dedicated film fan in his teenage years, working as historical drama, again produced by Launder and Gilliat and a cinema projectionist in his school holidays, before Oliver Twist, David Lean’s stunning adaptation of the classic novel entering the industry in 1932 as a runner and clapper by Charles Dickens photographed by Guy Green. Bboy at Wembley Studios, a month short of his 17th birthday. In 1949, Ossie gained his first screen credit as Director of The studio churned out quota quickies making a movie a week Photography on Golden Salamander, starring Trevor Howard as at a cost of one pound per foot of film. -
ASC 100Th Reel 30-Second
E.T.: The Extra- John Seale, ASC, ACS Terrestrial (1982) Allen Daviau, ASC Enter the Dragon (1973) The Gold Rush (1925) Gil Hubbs, ASC Roland Totheroh, ASC The Godfather (1972) Citizen Kane (1941) Gordon Willis, ASC Gregg Toland, ASC ASC 100th Reel 30-Second The Tree of Life (2011) Apocalypse Now (1979) Clip Playlist Emmanuel Lubezki, ASC, Vittorio Storaro, ASC, AIC AMC The Dark Knight (2008) Link to Video here. Taxi Driver (1976) Wally Pfister, ASC Michael Chapman, ASC Close Encounters of the Kill Bill Vol. 1 (2003) Third Kind (1977) The Matrix (1999) Robert Richardson, ASC Vilmos Zsigmond, ASC, Bill Pope, ASC HSC King Kong (1933) Jurassic Park (1993) Edward Linden; J.O. Blade Runner 2049 Dead Cundey, ASC Taylor, ASC; Vernon L. (2017) Walker, ASC Roger Deakins, ASC, BSC Braveheart (1995) John Toll, ASC Star Trek (1966) Gone With the Wind "Where No Man Has (1939) The French Connection Gone Before" Ernest Haller, ASC (1971) Ernest Haller, ASC Owen Roizman, ASC Sunrise (1927) Footloose (2011) Charles Rosher, ASC Game of Thrones (2017) Amy Vincent, ASC Karl Struss, ASC “Dragonstone” Gregory Middleton, ASC Sunset Boulevard (1950) Titanic (1998) John F. Seitz, ASC Russell Carpenter, ASC The Sound of Music (1965) Psycho (1960) The Graduate (1967) Ted D. McCord, ASC John L. Russell, ASC Robert Surtees, ASC The Wizard of Oz (1939) For more background Singin’ in the Rain (1952) Harold Rosson, ASC on the American Harold Rosson, ASC Society of Rocky (1976) Cinematographers, The Color Purple (1985) James Crabe, ASC go to theasc.com. Allen Daviau, ASC Frankenstein (1931) Empire of the Sun (1987) Arthur Edeson, ASC Allen Daviau, ASC Platoon (1986) Black Panther (2018) Robert Richardson, ASC Rachel Morrison, ASC Mad Max: Fury Road (2015) . -
Friendly Fire, It's Only Natural to Pranica Praise Its Director the Most
Note: This show periodically replaces their ad breaks with new promotional clips. Because of this, both the transcription for the clips and the timestamps after them may be inaccurate at the time of viewing this transcript. 00:00:00 Music Music Tense string music. 00:00:01 Adam Host When we watch a great film on Friendly Fire, it's only natural to Pranica praise its director the most. It's easy to do, and every critic does it, from the film reviewers in the newspaper to the Academy of Motion Picture Arts and Sciences. But you and I, and those same directors, all know that it takes a video village to bring a film from the page to the screen to the stage accepting an award. Personally, I think it's the editors that get the shortest shrift in these cases. But the person who's often just as responsible as a director for how a film looks and feels is the cinematographer. Which is what makes the partnership between they and the director so crucial in filmmaking. If a director is lucky, they form a bond with one for most of their oeuvre. Paul Thomas Anderson and Robert Elswit. Spielberg and Janusz Kamiński. Christopher Nolan and Wally Pfister. And sometimes you'll get some cinematography polyamory. Oliver Stone, Quentin Tarantino, and Martin Scorsese share Robert Richardson. Of course a counterpoint to this film paper is that Kathryn Bigelow has worked with many different cinematographers over the years. Roger Deakins, on camera for Sam Mendes's 1917, is widely considered to be one of the greatest and most influential cinematographers in the history of film. -
Cinematographer As Storyteller How Cinematography Conveys the Narration and the Field of Narrativity Into a Film by Employing the Cinematographic Techniques
Cinematographer as Storyteller How cinematography conveys the narration and the field of narrativity into a film by employing the cinematographic techniques. Author: Babak Jani. BA Master of Philosophy (Mphil): Art and Design University of Wales Trinity Saint David. Swansea October 2015 Revised January 2017 Director of Studies: Dr. Paul Jeff Supervisor: Dr. Robert Shail This research was undertaken under the auspices of the University of Wales Trinity Saint David and was submitted in partial fulfilment for the award of a MPhil in the Faculty of Art and Design to the University of Wales Trinity Saint David. Cinematographer as Storyteller How cinematography conveys the narration and the field of narrativity into a film by employing the cinematographic techniques. Author: Babak Jani. BA Master of Philosophy (Mphil): Art and Design University of Wales Trinity Saint David. Swansea October 2015 Revised January 2017 Director of Studies: Dr. Paul Jeff Supervisor: Dr. Robert Shail This research was undertaken under the auspices of the University of Wales Trinity Saint David and was submitted in partial fulfilment for the award of a MPhil in the Faculty of Art and Design to the University of Wales Trinity Saint David. This page intentionally left blank. 4 The alteration Note: The alteration of my MPhil thesis has been done as was asked for during the viva for “Cinematographer as Storyteller: How cinematography conveys narration and a field of narrativity into a film by employing cinematographic techniques.” The revised thesis contains the following. 1- The thesis structure had been altered to conform more to an academic structure as has been asked for by the examiners. -
British Society of Cinematographers
Best Cinematography in a Theatrical Feature Film 2020 Erik Messerschmidt ASC Mank (2020) Sean Bobbitt BSC Judas and the Black Messiah (2021) Joshua James Richards Nomadland (2020) Alwin Kuchler BSC The Mauritanian (2021) Dariusz Wolski ASC News of the World (2020) 2019 Roger Deakins CBE ASC BSC 1917 (2019) Rodrigo Prieto ASC AMC The Irishman (2019) Lawrence Sher ASC Joker (2019) Jarin Blaschke The Lighthouse (2019) Robert Richardson ASC Once Upon a Time … in Hollywood (2019) 2018 Alfonso Cuarón Roma (2018) Linus Sandgren ASC FSF First Man (2018) Lukasz Zal PSC Cold War(2018) Robbie Ryan BSC ISC The Favourite (2018) Seamus McGarvey ASC BSC Bad Times at the El Royale (2018) 2017 Roger Deakins CBE ASC BSC Blade Runner 2049 (2017) Ben Davis BSC Three Billboards outside of Ebbing, Missouri (2017) Bruno Delbonnel ASC AFC Darkest Hour (2017) Dan Laustsen DFF The Shape of Water (2017) 2016 Seamus McGarvey ASC BSC Nocturnal Animals (2016) Bradford Young ASC Arrival (2016) Linus Sandgren FSF La La Land (2016) Greig Frasier ASC ACS Lion (2016) James Laxton Moonlight (2016) 2015 Ed Lachman ASC Carol (2015) Roger Deakins CBE ASC BSC Sicario (2015) Emmanuel Lubezki ASC AMC The Revenant (2015) Janusz Kaminski Bridge of Spies (2015) John Seale ASC ACS Mad Max : Fury Road (2015) 2014 Dick Pope BSC Mr. Turner (2014) Rob Hardy BSC Ex Machina (2014) Emmanuel Lubezki AMC ASC Birdman or (The Unexpected Virtue of Ignorance) (2014) Robert Yeoman ASC The Grand Budapest Hotel (2014) Lukasz Zal PSC & Ida (2013) Ryszard Lenczewski PSC 2013 Phedon Papamichael ASC -
Elegies to Cinematography: the Digital Workflow, Digital Naturalism and Recent Best Cinematography Oscars Jamie Clarke Southampton Solent University
CHAPTER SEVEN Elegies to Cinematography: The Digital Workflow, Digital Naturalism and Recent Best Cinematography Oscars Jamie Clarke Southampton Solent University Introduction In 2013, the magazine Blouinartinfo.com interviewed Christopher Doyle, the firebrand cinematographer renowned for his lusciously visualised collaborations with Wong Kar Wai. Asked about the recent award of the best cinematography Oscar to Claudio Miranda’s work on Life of Pi (2012), Doyle’s response indicates that the idea of collegiate collaboration within the cinematographic community might have been overstated. Here is Doyle: Okay. I’m trying to work out how to say this most politely … I’m sure he’s a wonderful guy … but since 97 per cent of the film is not under his control, what the fuck are you talking about cinematography ... I think it’s a fucking insult to cinematography … The award is given to the technicians … it’s not to the cinematographer … If it were me … How to cite this book chapter: Clarke, J. 2017. Elegies to Cinematography: The Digital Workflow, Digital Naturalism and Recent Best Cinematography Oscars. In: Graham, J. and Gandini, A. (eds.). Collaborative Production in the Creative Industries. Pp. 105–123. London: University of Westminster Press. DOI: https://doi.org/10.16997/book4.g. License: CC-BY-NC-ND 4.0 106 Collaborative Production in the Creative Industries I wouldn’t even turn up. Because sorry, cinematography? Really? (Cited in Gaskin, 2013) Irrespective of the technicolor language, Doyle’s position appeals to a tradi- tional and romantic view of cinematography. This position views the look of film as conceived in the exclusive monogamy the cinematographer has histori- cally enjoyed on-set with the director during principal photography. -
British Cinematographer048
– 062 British Cinematographer – 061 Covering International Cinematography – 060 www.britishcinematographer.co.uk – 059 Issue 048 ––– November 2011 – 058 – 057 – 056 – 055 – 054 – 053 – 052 – 051 – 050 – 049 – 048 – 047 – 046 – 045 – 044 – 043 – 042 British – 041 – 040 048 – 039 – 038 – 037 Cinematographer – 036 – 035 – 034 Covering International Cinematography ROBERT RICHARDSON ASC ON T H E 1 9 3 0 ’ S LOOK AND 3 D STEREO S H O O T I N G OF MARTIN SCORSESE’S FANTASY HOW CHRISTIAN BERGER SET ABOUT LENSING ROYAL GERMAN DRAMA LUDWIG II ––– PLUS CAMERIMAGE 2011 PREVIEW: INCLUDING TRIBUTE TO LIFETIME AWARD WINNER JOHN SEALE ACS ASC STEPHEN GOLDBLATT BSC ASC on THE HELP ––– LARRY FONG ASC on SUPER 8 ––– SLAWOMIR IDZIAK on BATTLE OF WARSAW 1920 IN 3D ––– BSC, IMAGO, GBCT & PRODUCTION NEWS ––– WHO’S SHOOTING WHAT? DARIUSZ KUC PSC ––– REVIEW OF THE LATEST FILMMAKING GEAR AT IBC 2011 ––– JUSTIN BROWN ––– THE LATEST NEWS FROM TINSEL TOWN ––– GILBERT TAYLOR BSC British Cinematographer British Cinematographer Covering International Cinematography Covering International Cinematography www.britishcinematographer.co.uk www.britishcinematographer.co.uk Issue 048 ––– November 2011 22 Issue 048 ––– November 2011 23 For his camera work on The White Ribbon, Berger On the Job received many international awards, including Cinematographer Of The Year/Los Angeles 2009, –––DP Christian Berger AAC the ASC’s 2010 Outstanding Achievement in Cinematography Award, plus nominations from the Ludwig II Academy, and also the BSC. The list of domestic wins also includes German Film Award, the Lola 2010, the Austrian Romy 2010, as well as Diagonale Kamerapreis 2010 from the Austrian Association of Cinematographers. -
Cinematic Evolution: What Can History Tell Us About the Future?
Cinematic Evolution: What Can History Tell Us About the Future? Author Maddock, Daniel Published 2015 Conference Title Conference Proceedings of CreateWorld 2015: A Digital Arts Conference Version Version of Record (VoR) Copyright Statement © 2015 Apple University Consortium (AUC). The attached file is reproduced here in accordance with the copyright policy of the publisher. Please refer to the conference's website for access to the definitive, published version. Downloaded from http://hdl.handle.net/10072/123547 Link to published version http://auc.edu.au/2015/01/cinematographic-evolution-what-can-history-tell-us-about-the- future/ Griffith Research Online https://research-repository.griffith.edu.au Cinematic Evolution: What Can History Tell Us About the Future? Daniel Maddock Griffith Film School Griffith University, Brisbane d.maddock@griffith.edu.au Abstract mediums and draw on recent examples of current practice in mainstream Hollywood cinema to suggest how the definition Many commentators and proponents of the film industry of cinematography might be reframed. have called for a review of the cinematographic award ask- ing who is responsible for these images; the cinematograph- er or the visual effects artists. Theorist Jean Baudrillard said Virtual Image Creation: the Cinemato- cinema plagiarises itself, remakes its classics, retro-activates its own myths. So, what can the history of filmmaking tell us graphic Argument about the practice of visual effects? James Cameron’s ground breaking film Avatar was released Four of the previous five winners for Best Cinematography in to record audiences in December 2009. It was a film much a Feature Film at the Academy of Motion Picture Arts and discussed by critics and the wider media while it broke box- Sciences Awards (2009-2013) have been films which have office records becoming the highest grossing film in history contained a large component of computer generated im- at the time and the first film to gross more than two billion agery (animation and/or visual effects). -
NEW ARRI M8 800-Watt M8 Lamphead Rounds out the Versatile M-Series
NEWS IBC ISSUE 2013 NEW ARRI M8 800-watt M8 lamphead rounds out the versatile M-Series CFAST 2.0 FOR ALEXA XT/XR ARRISCAN ARCHIVE ULTRA WIDE ZOOM CFast 2.0 Adapter allows in-camera Century-old Mexican film footage New UWZ 9.5-18/T2.9 delivers recording to new SanDisk cards saved by ARRI archive technology exceptional super wide-angle images EDITORIAL DEAR FRIENDS AND COLLEAGUES Going into IBC we’re excited by Our new M8 lamphead expands the amazing take-up of the ALEXA XT the highly successful M-Series cameras and XR Module upgrade family of HMI fixtures equipped with since we introduced them in patented MAX Technology; we also February. Inside this issue you’ll find have another new LED Fresnel light a global overview of major movies in the L-Series – the L7-DT tuneable recording ARRIRAW in-camera to ALEXA XT/XR daylight model. On the lenses side we are proud to models, using the proven Codex workflow. You’ll unveil a remarkable Ultra Wide Zoom, and to also find details of a new CFast 2.0 Adapter for announce that the Master Anamorphic series has these models, which offers super-quick data rates begun shipping. Representing our ARRISCAN and further expands in-camera recording options. archive technologies we feature a case study in Top directors and DPs have every reason to continue these pages about the restoration of 100-year-old embracing ALEXA as the camera of choice, whatever Mexican film footage. the distribution format or resolution. Don’t forget to check in at our IBC show page We’re thrilled to have a working prototype of a arri.com/ibc2013 where you’ll find full details new camera at the show, not a successor to ALEXA about all of our products and activities at the show. -
101 Films for Filmmakers
101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers. -
Nommdfeaturesformatslist.Cwk (WP)
Features Nominated for 2012 Best Picture and/or Ourstanding Cinematography by the AMPAS and ASC along with the Directors, DPs, and formats they employed - Amour, Director Michael Haneke, DP Darius Khondji Camera/Format: Arri Alexa, ARRIRAW, Cooke Spherical - Argo, Director Ben Affleck, DP Rodrigo Prieto, Format: Mostly 35mm Kodak Film on ARRICAM with some ARRI Alexa/ARRIRAW, and some 16mm, and 8mm mixed in - Beasts of the Southern Wild, Director Bhen Zeitlin, DP Ben Richardson Camera: ARRI 16SR3, S16 Kodak Film, Zeiss Lenses, Spherical - Django Unchained, Director Quentin Tarantino, DP Robert Richardson, ASC, Camera/Format Panavision on 35mm Kodak Film, Anamorphic - Les Misérables, Director Tom Hooper, DP Danny Cohen Camera/Format, Arricam, S35mm Kodak Film, Spherical - Life of Pi, Director Ang Lee, DP Claudio Miranda, ASC, Head of Stereography Graham D. Clark, (DCS Member), Stereographer, Brian Gardner, Camera/Format Arri Alexa, PACE Fusion 3-D - Lincoln, Director Steven Spielberg., DP Janusz Kaminski, Camera/Format: Panavision on S35mm Kodak Film - Silver Linings Playbook, Director David O. Russell, DP Masanobu Takayanagi, Camera/Format, Arricam, S35mm Kodak Film, Spherical - Zero Dark Thirty, Director Kathryn Bigelow, DP Greig Fraser, Camera/Format: Arri Alexa, ARRIRAW, Cooke Spherical - Anna Karenina, Director Joe Wright, DP Seamus McGarvey Camera/Format Panavision on 35mm Kodak Film, Anamorphic - Skyfall, Director Sam Mendes, DP Roger Deakins, ASC, BSC, Camer/Format: ARRI Alexa, ARRIRAW, with some RED Epic REDcode RAW mixed in for 2nd Unit Action Shots. Compiled by James Mathers with data collected from IMDBpro.