I could not be more grateful to everyone who helped make this possible. The Revenant’s Emmanuel Lubezki is the bookmakers’ favourite to take his third best cinematography prize in a row (he also won in 2014 for Gravity and in 2015 for Birdman) for his work on the harrowing Alejandro González Iñárritu western.She continued in a thread, “It’s not lost on me that being able to shoot a film the scale of ‘Snow White’ during COVID is not easy, and any adjustment to our schedule is no small sacrifice… and obviously a huge thank you to for the presenter spot I’m so excited to open that shiny envelope. This year’s Oscars take place at the Dolby theatre in Los Angeles on 28 February. I think cinematography should encompass the entire film-making process, from negative to post, as a single unit.” Oscar-winner John Seale, nominated this year for Mad Max: Fury Road, said: “I don’t think we need another category.

The prestigious American Society of Cinematographers is said to have considered adding a second prize for films shot using digital effects, but not everyone is convinced. Prior to 1967, the Academy handed out two prizes for cinematography – one for black and white movies, one for those filmed in colour – so there is a precedent for splitting the award. They can do everything in post if you have the time and money.” Added Lachman, also a 2016 Oscar nominee: “I don’t think there’s an easy answer.

“The dilemma is, how do you define it? It’s extremely difficult to say what percentage is a VFX film versus ‘classically’ photographed,” he added.Ĭontinuing the theme, Carol cinematographer Ed Lachman told the Hollywood Reporter: “It’s becoming harder and harder to make that distinction between what is original photography and what is post-digital effects and photography. The Hateful Eight - video review Guardianīut the three-time Oscar winner – winner of the best cinematography prize for JFK, The Aviator and Hugo – admitted the Academy of Motion Picture Arts and Sciences might struggle to spot digital effects in some features.

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