{"id":2609,"date":"2013-03-08T09:31:48","date_gmt":"2013-03-08T17:31:48","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=2609"},"modified":"2014-06-04T16:47:30","modified_gmt":"2014-06-04T16:47:30","slug":"tigers-and-their-tales","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/tigers-and-their-tales\/","title":{"rendered":"Tigers and their Tales"},"content":{"rendered":"

Life of Pi takes a huge slice of industry honors in our 2013 awards season wrap<\/strong><\/p>\n

<\/p>\n

\"\"<\/a>
Claudio Miranda, ASC accepting his Best Cinematography Oscar\u00ae from the cast of The Avengers \/ Photo by Michael Yada \/ \u00a9A.M.P.A.S.<\/figcaption><\/figure>\n

It\u2019s fun when predictions about Hollywood\u2019s seemingly endless awards season \u2013 beginning in September with the Emmys and culminating on the last Sunday in February with The Oscars \u2013 do not<\/em> pan out. There isn\u2019t predictability in the rest of the industry, so why keep it dull with the lauding of prizes on its artists and crafts-people?<\/p>\n

In the Best Cinematography field, all eyes were fixed squarely on Skyfall<\/em>, after Roger Deakins, ASC, BSC<\/ins> took home the ASC award, or, a close second in Janusz Kaminski\u2019s historical (shot-on-film) Lincoln<\/em>. No one was more surprised than Claudio Miranda, ASC, or his director, Ang Lee, when both were called to the dais for their VFX-heavy spectacle at sea, Life of Pi<\/em>.<\/p>\n

\u201cThis movie was quite a beast to make,\u201d a visibly stunned Miranda offered. \u201cIt was a challenge, but when you are a cinematographer and you have your eyes and you go up and up and reach this thing, you get excited. I\u2019d like to thank everyone that made this thing totally possible. The Academy\u2026and\u2026I can\u2019t even speak. My wife, my daughters, everyone, thank you so much.\u201d<\/p>\n

Backstage, Miranda confessed he thought it would be Deakins\u2019 night.<\/p>\n

\u201cI actually kind of thought he would have got it, but, you know, I did get the BAFTA so there’s always a little bit of chance it\u2019s possible,\u201d he grinned.<\/p>\n

Life of Pi<\/em> also took home an Oscar for Best Visual Effects. The moment was more ironic than celebratory; VFX Supervisor Bill Westenhofer received the statuette, and as he began to acknowledge the financial woes of Life of Pi<\/em>\u2019s main VFX vendor, Rhythm & Hues, an ominous Jaws<\/em> soundtrack played him off stage.<\/p>\n

\"\"<\/a>
Live ABC Telecast of The Oscars\u00ae from the Dolby\u00ae Theatre in Hollywood, CA, February 24, 2013. Photo by Darren Decker \/ \u00a9A.M.P.A.S.<\/figcaption><\/figure>\n

\u201cIt\u2019s bad news that visual effects are too expensive and I\u2019m aware of Rhythm & Hues\u2026<\/ins>\u201d Westenhofer announced over the crescendo of music. Earlier that day, Rhythm & Hues employees and sympathizers had staged a protest at the corner of <\/ins>Hollywood and Vine with over 400 attendees. After contributing to Life Of Pi<\/em>\u2019s Oscar-winning effects, the company laid off a good chunk of its workforce and filed for Chapter 11 bankruptcy.<\/p>\n

Backstage in the Oscars Press Room, Westenhofer clarified his speech.<\/p>\n

\u201cWhat I was trying to say up there,\u201d reported TheWrap, \u201cis that it\u2019s ironic that when visual effects are dominating the box office, visual effects are struggling. We\u2019re artists, and if we don\u2019t fix the business model we may lose something.\u201d<\/p>\n

Life of Pi<\/em> was also among the top winners at the Visual Effects Awards held in early February, sharing that honor with Brave, <\/em>which also received four awards. Life of Pi<\/em> won for VFX in a VFX-Driven Feature, Animated Character in a Live Action Feature, FX and Simulation Animation in a Live Action Feature, and Compositing in a Feature. Brave<\/em> took home the Animated Feature category awards for Animation, Animated Character, Created Environment, and FX and Simulation Animation.<\/p>\n

\u201cThere\u2019s a lot of change going on [in VFX],\u201d said VES Executive Director Eric Roth at the Beverly Hilton. \u201cIt\u2019s a climate with razor thin margins. Globalization is here. I urge industry leaders to share ideas, because there may be a way to invent a new model.\u201d<\/p>\n

The event also honored Ang Lee with the VES Visionary Award, presented by Dennis Muren, and Richard Edlund with the Lifetime Achievement Award, presented by Harrison Ford.<\/p>\n

Jeffrey A. Okun, Chair of the Visual Effects Society, said early in the evening that, \u201ceach year, we put a spotlight on artistic achievements in visual effects that today more than ever define the experience of going to the cinema.\u201d<\/p>\n

\"\"<\/a>
ASC Lifetime Achievement recipient Dean Semler, ASC, ACS and presenter Angelina Jolie. Photo by Jessica Jewell.<\/figcaption><\/figure>\n

The needle of that cinematic experience shifted slightly <\/strong>this awards season by the 2012 Sundance award winner Beasts of the Southern Wild<\/em>. Although the widely seen micro-budget indie wasn\u2019t honored in any of it\u2019s four nominated sections at the Oscars<\/ins>, cinematographer Ben Richardson won a Film Independent Spirit award the day before.<\/p>\n

\u201cIt\u2019s been an incredible year,\u201d the U.K.-born, Brooklyn–<\/ins>based DP said after his win. \u201cThe nicest thing is that there\u2019s something in the work that I did that people recognize has a certain quality to it, and they\u2019re coming to me for that reason. It\u2019s just delightful.\u201d<\/p>\n

Unlike most other seasonal honors, achievements given out at the Academy\u2019s Scientific and Technical Awards [Sci-Tech] need not have been developed or introduced in 2012. Rather, the awards are given based on a proven record of contributing significant value to the motion picture industry.<\/p>\n

The Sci-Tech Awards held a modest, yet chic affair at the Beverly Hills Hotel, two weeks prior to the Oscars. Nine teams, made up of 25 individuals who might well be considered behind-the-scenes geniuses, were honored.<\/p>\n

\"\"<\/a>
Indie Spirit Award winner for Best Cinematography Ben Richardson with Beast of Southern Wild lead actress Quvenzhan\u00e9 Wallis at the Fox Searchlight Oscar Party. Photo by Todd Williamson.<\/figcaption><\/figure>\n

\u201cYou\u2019re magic has created the iconic imagery,\u201d announced AMPAS President Hawk Koch during the ceremony, which was split into three acts to compliment three decadent courses of Fig and Pomegranate Salad, C\u00f4te de Beouf, and a Mousse Parfait. \u201cWithout science and technology, there is no art.\u201d<\/p>\n

Highlights included Sony Pictures Imageworks\u2019 creation of Katana, a revolutionary new open-source VFX software, first used on Spider-Man 3,<\/em> which allows artists to design and control the look and lighting of scenes in a scalable way; and an Academy Award of Merit to Cooke Optics Limited for the design, development, and creation of lenses that have helped define the aesthetic of motion pictures for the last century.<\/p>\n

Other awards were bestowed upon the inventors of the Post Space Deformation (PSD) technique \u2013 allowing CG characters to move and act in lifelike ways, the PDI\/DreamWorks team for the Light system, Wavelet Turbulence software, Key Grip Richard Mall for The Matthews Max Menace Arm, The Tissue Physically\u2013Based Character Simulation Framework, the Imagineer Systems Ltd. team for Mocha, and the team from Anton\/Bauer, Inc. who designed and created the CINE VCLX Portable Power System \u2013 a high-capacity battery.<\/p>\n

\"\"<\/a>
Life of Pi VES award winners (l-r) Donald R. Elliot, Bill Westenhofer and Guillaume Rocheron. Courtesy of Bobby Quillard\/ Visual Effects Society<\/figcaption><\/figure>\n

Early season standouts included The Hollywood Post Alliance<\/strong> (HPA) Awards in November, which honored outstanding contributions in post-production of feature films, TV series and commercials over the last two years. Hollywood\u2019s 2012 summer blockbuster The Avengers<\/em> took home the Outstanding Compositing prize and 2011\u2019s The Iron Lady<\/em> grabbed the Outstanding Color Grading prize. Hugo<\/em> and The Adventures of Tintin<\/em> received the Outstanding Editing and Outstanding Sound awards, respectively.<\/p>\n

In the Television category,<\/ins> HBO\u2019s Game of Thrones<\/em> won for color grading and Downton Abbey<\/em>, Grimm<\/em> and NCIS: Naval Criminal Investigative Service<\/em> left with the rest of the TV honors. Ray Dolby, the inventor of the noise reduction system Dolby NR, received a Charles S. Swartz award from the HPA for his contribution to sound recording and image technology.<\/p>\n

Closing the loop for ICG Magazine.com <\/em>and Local 600 members were the 27th<\/sup> Annual American Society of Cinematographers (ASC) Awards, held at the Grand Ballroom at Hollywood & Highland two weeks before the Oscars. As noted, Deakins took home the top prize for Outstanding Cinematography for Skyfall<\/em>, but wasn\u2019t able to attend, as he was on set for the latest criminal drama from director Denis Villeneuve.<\/p>\n

\u201cI\u2019d like to think that [Roger] would thank his wife if he were here,\u201d joked Deakins\u2019 wife, James, who accepted the award on his behalf. Deakins has previously won ASC Awards for The Shawshank Redemption<\/em> (1995) and The Man Who Wasn\u2019t There<\/em> (2002), with eleven total nominations over his celebrated career. He shared this year\u2019s nominations with Seamus McGarvey, ASC, BSC (Anna Karenina<\/em>), Danny Cohen, BSC (Les Mis\u00e9rables<\/em>), Claudio Miranda, ASC (Life of Pi<\/em>), and Janusz Kaminski (Lincoln<\/em>).<\/p>\n

Balazs Bolygo, HSC (for Cinemax\u2019s Hunted<\/em>) and Kramer Morgenthau, ASC (for HBO\u2019s Game of Thrones<\/em>) tied in the one-hour television episodic category; Florian Hoffmeister won the TV movie\/miniseries award for PBS\u2019 Great Expectations<\/em>, and Bradford Lipson claimed the half-hour television episodic category for FX\u2019s Wilfred<\/em>.<\/p>\n

\"\"<\/a>
<\/dd>\n
Sci-Tech Honorees: Front row (left to right): actor Chris Pine, Academy President Hawk Koch, actress Zoe Saldana and Science and Technology Council Chairman Richard Edlund.\u2028\u2028Second row: Richard Mall, Bill Taylor, Dr. Philip McLauchlan, Les Zellan, John-Paul Smith, Allan Jaenicke and Steve LaVietes.\u2028\u2028Third row: Simon Clutterbuck, James Jacobs, Dr. Richard Dorling, Dr. Markus Gross, Theodore Kim, Ross Shain, Daniel Wexler, Jeremy Selan and Joe Murtha.\u2028\u2028Back row: Nickson Fong, Matt Cordner, J.P. Lewis, Drew Olbrich, Lawrence Kesteloot, Doug James, Nils Thuerey, William Frederick, Jim Markland and Brian Hall. Photo by Richard Harbaugh \/ \u00a9A.M.P.A.S.<\/figcaption><\/figure>\n

Surprise guest Angelina Jolie walked on stage to gasps and excited claps to present the ASC Lifetime Achievement Award to Oscar-winning Dean Semler, ASC, ACS who has nearly 70 feature credits and has worked with Jolie often in the last decade, including her directorial debut, In the Land of Blood and Honey<\/em> (2011).<\/p>\n

\u201cA film can be shot without an actor, even without a director,\u201d Jolie said. \u201cBut a film cannot be shot without a director of photography\u2026 we would all quite literally be in the dark. There is nothing more sacred on a film set than trust. Dean inspires and earns the kind of trust that we all dream of, and because of that, artists often do their best work when they\u2019re working with him.\u201d<\/p>\n

The ASC International Award was presented to Robby M\u00fcller, NSC, BVK by director Steve McQueen and actress Nastassja Kinski, who accepted the award on the ailing M\u00fcller\u2019s behalf. The Career Achievement in Television Award went to Rodney Charters, ASC, CSC, who thanked all the engineers he\u2019d ever worked with and talked about embracing the changes in the industry and in the DP\u2019s craft.<\/p>\n

\u201cA critical change has occurred in our industry since the days when Kodak was the name on everything at my family\u2019s studio,\u201d Charters shared during his acceptance speech. \u201cI\u2019ve embraced the change earnestly, and I want to thank all the engineers and visionaries who are giving us the new technologies. We must salute everything that Kodak and Fuji have done for us over the past century. I miss those boxes and cans \u2014 they were so useful. In time, we may find them returning as little tanks of DNA after Kodak reinvents storage.\u201d<\/p>\n

Curtis Clark, ASC, who was honored with The Presidents Award, echoed Charters. \u201cMy career has followed dual, but complementary paths that combine the creative practice of cinematography with an exploration of its technical foundation, both photochemical and digital,\u201d Clark stated. \u201cI\u2019ve always felt the need to understand the technological underpinnings that enable the art of cinematography to be practiced to its fullest potential. In this respect, I\u2019ve taken my inspiration from the 15 founding members of the ASC, who in 1919 formed the ASC in part to address the technical challenges of their day so they could more effectively practice their cinematographic art. They established a great tradition that has continually reinforced the ASC\u2019s leadership role over the past 93 years in advancing both the art and technology of cinematography.\u201d<\/p>\n

\"\"<\/a><\/p>\n

By Valentina I. Valentini<\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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