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Daniel Carruthers

ASC awards 2010

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Well the ASC awards where just announced

heres the list

 

Nine

inglorious basterds

the white ribbon

Avatar

the hurtlocker

 

I was a little surprised Avatar got nominated?

I really enjoyed the film, but more than half the film is CGI

I really didnt think too much of the live action photography?

Anyways what are your thoughts?

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Well the ASC awards where just announced

heres the list

 

Nine

inglorious basterds

the white ribbon

Avatar

the hurtlocker

 

I was a little surprised Avatar got nominated?

I really enjoyed the film, but more than half the film is CGI

I really didnt think too much of the live action photography?

Anyways what are your thoughts?

 

Probably the weakest year for cinematography in a very long time. I still have not seen The White Ribbon, though.

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Probably the weakest year for cinematography in a very long time. I still have not seen The White Ribbon, though.

 

The White Ribbon is probably the best out of these, with Nine coming in at a close second, I think. Christian Berger, AAC really did a beautiful job on Ribbon. You should watch it as soon as possible.

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Saying that "Avatar" is only half CG is masterful understatement. Might as well nominate video games for the award, next :unsure:

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Saying that "Avatar" is only half CG is masterful understatement. Might as well nominate video games for the award, next :unsure:

 

These aren't the People's Choice Awards and they aren't the TV Guide Awards. These guys were nominated by the ASC members. They must have seen something in this that was on the cutting edge of filmmaking or there was something that was in the cinematographer's contribution that led them to nominate this film. Jim Cameron is a master director who sticks his neck out there and makes movies that are not only box office successes but have a significant amount of artistic merit. We'll see if it wins but once the steam roller gets going, it's hard to stop.

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Well, Avatar just won the Critic's Choice Award for Cinematography and Art Direction among other technical awards...

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Saying that "Avatar" is only half CG is masterful understatement. Might as well nominate video games for the award, next :unsure:

 

 

Well you know with more and more films having CGI maybe there should be a 2nd category for best cinematography in a CGI film?

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I dont disagree with any of the selections, all masters of the craft.. Congrats on Mauro he definitely deserves it, even if his Cinematography was but 30% of Avatar.. thats how good he is..

 

My only thing is Where the Wild Things Are.. How is that not on the list? Its boggling my mind.. thoughts please..

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Probably the weakest year for cinematography in a very long time. I still have not seen The White Ribbon, though.

 

Its funny, but I couldn't disagree more. I thought these all looked great but I can think of a few I might have nominated as well. I would like to see Hurtlocker get some recognition.

Ive been a fan of Mauro Fiores for a long time though, I wouldn't be surprised if Avatar won.

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I can't say that I'm excited by any of my choices this year; they are all fine works of cinematography though. But this is nothing like the year of "Assassination of Jesse James", "There Will be Blood", and "No Country for Old Men".

 

My favorite five of the year for cinematography is (no particular order):

 

White Ribbon

Broken Embraces

Harry Potter and the Half-Blood Prince

Coco Before Chanel

Inglourious Basterds

 

My runners-up list would be:

 

Avatar, Star Trek, Young Victoria, State of Play, Up in the Air, The International, Tetro, Where the Wild Things Are, A Serious Man

 

Possible candidates that I haven't seen yet:

Amelia, AntiChrist, Bright Star, Cheri, The Hurt Locker, A Single Man

 

But I also wonder about nominating "Avatar", the percentage of live-action is small, and what's there was augmented by a lot of set extension, etc. If one is really rewarding it for an overall visual experience, one would have to toss in Vince Pace, James Cameron, Joe Letteri et al.

 

If "The Hurt Locker" gets an Oscar nomination for Best Cinematography, that would be the first Super-16 feature I can think of, unless you count "City of God", which was also nominated and was mostly shot in Super-16.

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Avatar deserves a nomination for the revolutionary 3D cinematography used in it and how it will change the art and craft of cinematography. However, what was Vince Pace's role during the production of Avatar? Aside from helping to design the camera system, according to IMDB he is credited as Director of Photography: Los Angeles, not as a second unit DP.

 

Either way is it possible for two DPs to share a nomination?

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Avatar deserves a nomination for the revolutionary 3D cinematography used in it and how it will change the art and craft of cinematography. However, what was Vince Pace's role during the production of Avatar? Aside from helping to design the camera system, according to IMDB he is credited as Director of Photography: Los Angeles, not as a second unit DP.

 

Either way is it possible for two DPs to share a nomination?

 

last year Chris Menges and Roger deakins shared a nomination for the Reader

But both those DOP shot large portions of the film, and where under the main unit

Im not sure what Vince pace shot, but it probably wasn't much in the grand scheme of things?

otherwise Im sure they would of credited both Muro and vince together?

Also I enjoy 3D but I really dont think Aavatar changed the craft of cinematography?

most of what I found to be spectacular about the movie was the 3D CGI

Edited by Daniel Carruthers

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Has anyone heard anything about the Richard Moore Heritage Award? Have notifications gone out yet? I'm one of the nominees, so I'm really excited about this one (though I'd expect my chances are nill compared to all the guys who went to one of the big time schools). Thanks!

 

BR

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Has anyone heard anything about the Richard Moore Heritage Award? Have notifications gone out yet? I'm one of the nominees, so I'm really excited about this one (though I'd expect my chances are nill compared to all the guys who went to one of the big time schools). Thanks!

 

BR

 

Yeah... at least one of them went to my buddy Benji Bakshi at AFI. Not sure about the other one. Congrats either way for the nom.

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Yeah... at least one of them went to my buddy Benji Bakshi at AFI. Not sure about the other one. Congrats either way for the nom.

 

That answers my question. They must've been notified. Again, no surprise. My work is pretty hacky compared to the great work the big schools are making. But someday maybe I'll do something that's really worthwhile...someday.

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I saw White Ribbon and thought it was a fine film, but ultimately (I know David disagrees with me!) I feel that the black & white DI was a bad move. I would rather have seen this film in color. The landscape and skin tones and colors of the people and surroundings would have been better suited to color, IMO.

 

I have to say that so far, I'd give the Oscar to "State of Play" this year. Unfortunately, the film came out so long ago that most people have forgotten that it's even eligible this year.

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I saw White Ribbon and thought it was a fine film, but ultimately (I know David disagrees with me!) I feel that the black & white DI was a bad move.

 

Ditto. Call me an old fogey (at the ripe age of 25), but doing a color to B/W DI just feels...like cheating to me. If you want color, shoot color, if you want monochrome, shoot monochrome.

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I think that black and white suited "The White Ribbon" perfectly. It's Haneke after all!

 

Regarding the reasons for color stock (from a Q&A with Berger, transcribed by Emmanuel SUYS from cml). It's not a choice one can easily make I guess.

 

"The

film was shot in color for 3 reasons. First, the German broadcaster,

involved in the project, insisted on a color version of the film as an

eventuality. The existing B&W emulsions did not meet the requirements

needed. They wanted a newer B&W look, distance themselves from the

existing B&W films of the past. B&W filmstocks have not evolved as the

Colour ones. By combining the use of 5205, 5212 and 5219 with digital

post-production techniques (scanning-grading and some digital vfx)

Berger would be able to get the maximum of information in the original

negative, and so have at his disposal a large palette of colors to grade

from. This was needed not only to create this modern B&W look but also

it would allow Berger to work the indoor scenes with the strict minimum

lights or reflectors. Berger has a very peculiar way of lighting.

Haneke wanted especially the night scenes, if possible with no

additional lighting. Just a couple of chandeliers or petrol lamps In

some scenes the meter read-out in the highlights were around F 0.5.

The child coming down the staircase looking for his sister as a perfect

example. The night scenes were a constant on the edge shoot as far as

negative density was concerned. Color-temperature was at times way

below the 2800 K."

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I've worked with Berger's lighting system and it's based around an accurately calculated parallel 1200W Par mounted on a crane and directed with several different mirrors onto bounceboards. - http://cine-rls.com/?t=videos - exposure on an outdated ISO 250 B&W stock would've been very tricky.

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I'm not disagreeing with the film stock used. I'm disagreeing artistically with the idea of making this film black and white.

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I still havnt seen the white ribbon

but right now Im really hoping the Hurt locker wins best cinematography

I just thought the 16mm photography looked so good.

I would think hand held war film would be over done, but it worked very well for that film.

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I haven't seen the film. I'll have to be careful not to stick my foot in my mouth, here. I would like to say that B&W and color are significantly different methods of imaging that require different philosophies of light and dark. I consider them, in comparison, as different as poetry and prose. As they say, "Never let a newspaper hack pretend to be a poet." Maybe, it's not as extreme as that. But, I think that it is like a different dialect of the same language. You can certainly get by in either dialect, but you can't speak eloquently in B&W if all you've ever spoken is color.

 

Just opinion.

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Let me rephrase.

 

I understand your opinion, but I don't agree with it. I think that the film would not have had the same effect when watched in color. It would've been too "nice", too "green" and too "sunny", too much hope.

Edited by XiaoSu Han

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