Life of Pi (Film)
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92Nd ACADEMY AWARDS® BALLOT
92nd ACADEMY AWARDS® BALLOT IMDb LIVE is covering the Academy Awards all evening long -- join us at IMDb.com on Feb. 9 at 7:30 p.m. ET/4:30 p.m. PT Name ¨ A B BEST ACHIEVEMENT ¨ A Marriage Story 8.1 14 Once Upon a Time... in Hollywood 7.7 Noah Baumbach IN COSTUME DESIGN Wylie Stateman A ¨ Once Upon a Time... in Hollywood 7.7 ¨ Jojo Rabbit A8.0 ¨ Star Wars: The Rise Of Skywalker A6.9 Total Correct Quentin Tarantino Mayes C. Rubeo Matthew Wood and David Acord A ¨ Parasite 8.6 ¨ Joker A8.6 /24 Bong Joon Ho and Jin Won Han Mark Bridges BEST ACHIEVEMENT 20 ¨ Little Women A8.1 IN VISUAL EFFECTS Jacqueline Durran BEST MOTION PICTURE BEST ADAPTED ¨ 1917 A8.5 01 08 A OF THE YEAR SCREENPLAY ¨ Once Upon a Time... in Hollywood 7.7 Guillaume Rocheron, Greg Butler, and A Arianne Phillips Dominic Tuohy ¨ 1917 A8.5 ¨ Jojo Rabbit 8.0 ¨ The Irishman A8.0 A Sam Mendes, Pippa Harris, Jayne-Ann Taika Waititi ¨ Avengers: Endgame 8.5 Christopher Peterson and Sandy Powell Tenggren, and Callum McDougall ¨ Joker A8.6 Dan DeLeeuw, Russell Earl, Matt Aitken, Todd Phillips and Scott Silver and Daniel Sudick ¨ Ford v Ferrari A8.2 A BEST ACHIEVEMENT IN ¨ A Peter Chernin, Jenno Topping, James Mangold ¨ Little Women 8.1 15 Star Wars: The Rise Of Skywalker 6.9 Greta Gerwig MAKEUP AND HAIRSTYLING Neal Scanlan, Patrick Tubach, Dominic Tuohy, ¨ Jojo Rabbit A8.0 and Roger Guyett Carthew Neal, Taika Waititi ¨ The Irishman A8.0 ¨ 1917 A8.5 Steven Zaillian ¨ The Irishman A8.0 ¨ Joker A8.6 Naomi Donne, Tristan Versluis, and Rebecca Cole Pablo Helman, Leandro Estebecorena, Todd Phillips, Bradley Cooper, Emma Tillinger ¨ The Two Popes A7.6 ¨ Bombshell A6.8 Nelson Sepulveda, and Stephane Grabli Koskoff Anthony McCarten Kazu Hiro, Anne Morgan, and Vivian Baker ¨ The Lion King A6.9 ¨ Little Women A8.1 ¨ Joker A8.6 Robert Legato, Adam Valdez, Andrew R. -
Free-Digital-Preview.Pdf
THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ $7.95 U.S. 01> 0 74470 82258 5 www.animationmagazine.net THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ The Return of The Snowman and The Littlest Pet Shop + From Up on The Visual Wonders Poppy Hill: of Life of Pi Goro Miyazaki’s $7.95 U.S. 01> Valentine to a Gone-by Era 0 74470 82258 5 www.animationmagazine.net 4 www.animationmagazine.net january 13 Volume 27, Issue 1, Number 226, January 2013 Content 12 22 44 Frame-by-Frame Oscars ‘13 Games 8 January Planner...Books We Love 26 10 Things We Loved About 2012! 46 Oswald and Mickey Together Again! 27 The Winning Scores Game designer Warren Spector spills the beans on the new The composers of some of the best animated soundtracks Epic Mickey 2 release and tells us how much he loved Features of the year discuss their craft and inspirations. [by Ramin playing with older Disney characters and long-forgotten 12 A Valentine to a Vanished Era Zahed] park attractions. Goro Miyazaki’s delicate, coming-of-age movie From Up on Poppy Hill offers a welcome respite from the loud, CG world of most American movies. [by Charles Solomon] Television Visual FX 48 Building a Beguiling Bengal Tiger 30 The Next Little Big Thing? VFX supervisor Bill Westenhofer discusses some of the The Hub launches its latest franchise revamp with fashion- mind-blowing visual effects of Ang Lee’s Life of Pi. [by Events forward The Littlest Pet Shop. -
Wmc Investigation: 10-Year Analysis of Gender & Oscar
WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S. -
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 -
ERIK MESSERSCHMIDT, ASC Director of Photography
ERIK MESSERSCHMIDT, ASC Director of Photography official website TELEVISION (partial list) RAISED BY WOLVES HBO Max EP: Ridley Scott (Episodes 105, 106, 109) FARGO (Season 5, 1 Episode) FX Dir: Dana Gonzales *MINDHUNTER (Seasons 1-2) Netflix Creator: David Fincher Trailer LEGION (Episodes 209, 308) FX Dir: Dana Gonzales *2020 Emmy Award Nominee – Outstanding Cinematography for a Single-Camera Series (One Hour) – Ep. 206 FEATURES (partial list) DEVOTION Black Label Media Dir: J.D. Dillard *MANK Netflix Dir: David Fincher **IN A DREAM (Documentary) IFC Dir: Jeremiah Zagar *2021 Academy Award Winner – Best Achievement in Cinematography *2021 ASC Award Winner – Outstanding Cinematography in a Feature Film *2021 BSC Award Winner – Best Cinematography in a Theatrical Feature Release *2021 BAFTA Award Nominee – Best Cinematography *2021 San Francisco Bay Area Film Critics Circle Award Nominee – Best Cinematography *2021 Broadcast Film Critics Association - Critics Choice Award Nominee – Best Cinematography *2021 Alliance of Women Film Journalists - EDA Award Nominee – Best Cinematography **2009 Camerimage Award Nominee – Golden Frog BIO Director of photography Erik Messerschmidt, ASC has a natural eye for arresting and spellbinding images, thriving in a role that allows him to combine his love of art, craft and science. He shot David Fincher’s passion project Mank in black and white, chronicling the screenwriter Herman Mankiewicz’s turbulent journey to write Citizen Kane alongside Orson Welles. Messerschmidt’s meticulous and striking recreation of the period’s aesthetic earned him the Academy Award for Best Cinematography, an ASC Award for Outstanding Cinematography in a Feature Film, a BSC Award for Best Cinematography in a Theatrical Feature Release, a BAFTA Award nomination for Best Cinematography, as well as Best Cinematography award nominations from the San Francisco Bay Area Film Critics Circle, the Broadcast Film Critics Association Critics Choice, and the Alliance of Women Film Journalists. -
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. -
Read Ebook {PDF EPUB} the Boyhood of Harvey by Stephen Turner Inside Steve Harvey’S $15 Million Atlanta Mansion
Read Ebook {PDF EPUB} The Boyhood of Harvey by Stephen Turner Inside Steve Harvey’s $15 Million Atlanta Mansion. First Madea, now Steve Harvey. Those walls will never be short of a laugh. An Atlanta, Ga., mansion formerly owned by movie mogul and actor Tyler Perry, in the affluent Buckhead area, has just been purchased by funnyman-turned-talk-show-host and self-help author Harvey and his wife Marjorie for $15 million, as first reported by TMZ. Harvey and Perry alone could probably start their own TV network with all the content they produce. The former, 63, is an omnipresent face on the small screen, hosting “Showtime at the Apollo,” “Celebrity Family Feud” and the Miss Universe competition. As for Perry, he has shows running on BET, Netflix, OWN, Nickelodeon and more. Both also have rags to riches back stories, having been homeless and, at times, laving lived in their cars before making it big in entertainment. Perry sold the unabashedly opulent 35,000-square-foot behemoth in 2016 for $17.5 million, after having had it on the market for almost two years with an unrealistic initial asking price of $25 million. Despite the multimillion-dollar difference between the original asking price and the recorded sale price, the property nonetheless made real estate waves as the most expensive residential sale in Atlanta history. It’s worth taking a gulp of air before reading through the plethora of features in the 7-bed, 9.5-bath spread. First, there’s the setting: 17 acres of manicured lawns bordered by trimmed gardens, a 70,000-gallon infinity-edged swimming pool, a lighted tennis court, fully equipped gym and separate spa. -
Zahraniční Tituly V České Kinodistribuci V Roce 2020
Úvod Kompilací Zahraniční filmy v české kinodistribuci 2020 předkládá Národní filmový archiv široké veřejnosti přehled všech zahraničních audiovizuálních děl, která v období od 1. ledna do 31. prosince 2020 byla v premiéře uvedena distribučními společnostmi v kinech na území České republiky. Jednotlivé tituly byly zpracovány na základně přístupných údajů Unie filmových distributorů a samotných distribučních společností. Získaná data byla revidována, zpřesňována, ověřována a doplňována podle zákonné oznamovací povinnosti (zákon o audiovizi číslo 496/2012 Sb. s účinností od 1. ledna 2013), úvodních a závěrečných filmových titulků, tisku, zahraničních internetových databází a dalších relevantních materiálů, pramenů a zdrojů. Po úvodním přehledu všech sto šestnácti v kinodistribuci nasazených filmů (pokud není uvedeno jinak, jde o dlouhometrážní díla) následuje hlavní část, abecedně seřazený soupis snímků v podobě hesel s filmografickými, technickými, produkčními a distribučními údaji a s informativními texty. V závěru publikace je přehled distribuovaných filmů seřazený chronologicky podle data české premiéry, dále podle země původu, podle distribučních společností. A zvláštní přehled tvoří filmy, které byly v kinech uvedeny v národní úpravě – v dabované verzi (zbylým snímkům bylo zpravidla ponecháno původní znění a byly opatřeny českými podtitulky). V jednotlivých seznamech jsou dále vedeny údaje, zda se jedná o součást pásma, obnovenou premiéru, film krátkometrážní či středometrážní a u koprodukčních snímků jsou zmíněny rovněž všechny zúčastněné země. Pro úplnost připojujeme taktéž soupis českých a českých koprodukčních snímků uvedených ve sledovaném roce v tuzemské kinodistribuci. Jejich podrobné údaje jsou k dohledání rovněž v internetové databázi Filmový přehled (www.filmovyprehled.cz). Výjimečný distribuční rok 2020 v českých kinech nelze – ať již celkovým množstvím filmových premiér, počtem projekcí, či jejich návštěvností – porovnávat s předcházejícími (a zřejmě ani s následujícími) lety. -
Camera Operator of the Year Award
BEST CINEMATOGRAPHY | CLAUDIO MIRANDA LAUDIO MIRANDA LAUDIO C | CINEMATOGRAPHY BEST “And everybody asked me would I try again...? I never did. As a matter of fact, I have never done anything with my life after that....” “A visual triumph that advances the art of screen storytelling leaps and bounds ahead of everything that has come before.....” – Pete Hammond, Hollywood.com US $7.00 AWARDS ISSUE 2009 Display Until April 2009 2009 Special Awards Issue THE OPERATING CAMERAMAN: TRANSITIONS 1 © 2009 Paramount Pictures. All Rights Reserved. PARAMOUNTGUILDS.COM WWW.SOC.ORG CAMERACAMERA OPERATOROPERATOR VOLUME 18, NUMBER 1 SPECIAL AWARDS ISSUE 2009 Filming Law & Order: Criminal Intent out east on the north shore of Long Island. Courtesy of Al Cerullo. Features: SOC Lifetime Achievement Awards Celebration Meet the people who are being honored this Cover: year for Lifetime Achievement as a Camera Operator, Camera Technician, Mobile Platform Camera Operator, and Still Photographer, for the President’s Award, for Outstanding Achievement in Technology, for Distinguished 6 Service, and for the 2nd annual Camera Operator of the Year Award. Filming a Heist Cover photo of by Dan Kneece SOC 53 Sean Penn from An Operator’s personal diary description of Milk. © 2008 Focus shooting the feature film Maiden Heist for Features. DP Ueli Steiger ASC. Departments: 2 President’s Letter 61 Transitions by Dan Kneece SOC 63 Last Take; Ad Index 4 News & Notes SOC donation to Childrens Hospital Vision 64 Roster of the SOC Center; Holiday Screening. as of 1/9/09 Camera Operator Letter from the President Special Awards Issue 2009 elcome to the 2009 Past recipients have felt that Editor . -
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). -
Than Digital Makeup: the Visual Effects Industry As Hollywood Diaspora
More Than Digital Makeup: The Visual Effects Industry as Hollywood Diaspora By Sarah K. Hellström Department of Cinema Studies Master’s Thesis 15 hp Master Course 30 hp, VT 2013 Supervisor: Dr. Patrick Vonderau If I hear one more person who comes up to me and complains about [how]‘computer-music has no soul’ then I will go furious, you know. ‘Cause of course the computer is just a tool. And if there is no soul in computer-music then it's because nobody put it there and that's not the computers role, it's the role of the songwriter. He puts down his soul in the song if he wants to. A guitar will never write a song and a computer will never write a song, these are just tools.i - Björk Title: More Than Digital Makeup: The Visual Effects Industry as Hollywood Diaspora Author’s name: Sarah K. Hellström Supervisor: Dr. Patrick Vonderau Abstract This thesis assesses the marginal field (niche unit) of visual effects while taking into account visible and invisible vfx in virtual and actual geographies in Hollywood movies as part of industry-level studies, all the while seeking to bridge the gap between traditional, theoretical approaches of cinema studies and practitioner experience in the context of production culture. The focus of this essay remains on the many temporal aspects of production processes that identify vfx film production as chief, and vfx for television as subsequential. Encouraging scholars to consider a previously limited and repeatedly mislabeled area by demonstrating the pandemic presence of effects and its workers as a form of Hollywood diaspora, this thesis also seeks to demonstrate the need for involvement by means of scholar-practitioner methodologies. -
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.