Crafts Roundup: Assessing the Gravity Oscar Factor

As anticipated, Alfonso Cuaron’s blockbuster Gravity dominated the Oscar nominations this week with 10 (tied with American Hustle), of which seven were craft-related (VFX, cinematography, production design, editing, sound editing, sound mixing, and original score). Meanwhile, best picture frontrunners 12 Years a Slave (which was re-released theatrically along with Gravity) and American Hustle each scored three craft noms.

The uniqueness of Gravity in pushing the boundaries of virtual production was that it was essentially made as an animated movie by Cuaron, his department heads, and London-based Framestore. This was the best way to achieve the weightlessness. In fact, everything in space was fully prevised, pre-lit and animated except for the faces of Sandra Bullock and George Clooney. And the team was assisted by a new twist on some old techniques with the Light Box, robotic cameras, and wire rigs.

Thus, taken as a whole, the Gravity craft noms represent the making of a complex digital jigsaw puzzle, which was reverse-engineered and pieced together over a four-year period. It involved production design (Andy Nicholson, production designer; Rosie Goodwin and Joanne Woollard, set decoration), cinematography (Emmanuel Lubezki), VFX (Tim Webber, Chris Lawrence, Dave Shirk and Neil Corbould), sound editing (Glenn Freemantle), sound mixing (Skip Lievsay, Niv Adiri, Christopher Benstead and Chris Munro), score (Steven Price), and editing (Cuaron and Mark Sanger). And it’s likely that Gravity will sweep them all.

Read the rest at TOH/Indiewire.

 

Posted on by Bill Desowitz in 3-D, Animation, Below the Line, Cinematography, Clips, Costume, Editing, Events, Movies, Music, Oscar, previs, Production Design, Sound, Tech, VFX, Virtual Production

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