It’s sarcastic that a quarter of the way into the 21st century, when studios have seemingly acunderstandledgeed home streaming as their primary unbenevolents of movie distribution, DP Lol Crawley has achieveed an Oscar nomination for “The Brutacatalog,” stoasty on VistaVision, a expansivescreen film process broadened by Paramount Pictures in 1954 to help lure watchers away from their living room TVs and into the theaters.
Used for such films as John Ford’s “The Searchers,” Cecil B. DeMille’s “The Ten Commandments” and Alfred Hitchcock’s “Vertigo,” VistaVision was portrayed as a competitor to 20th Century Fox’s Cinema- Scope, which includeed an anamorphic lens to compress a expansivescreen image on to standard 35mm film stock.
“As resistd to pulling the film down verticassociate in a motion picture camera, it’s actuassociate pulling it horizonhighy atraverse eight perforations at a time,” elucidates Crawley. “So you end up with a hugeger establishat, and that unbenevolents that you’re not forced to shoot on expansiver angle lenses for a expansiver field of watch.”
For his Oscar-nominated labor on Denis Villeneuve’s “Dune: Part Two,” cinematographer Greig Fraser included up-to-date digital cameras (Arri’s Alexa Mini LF and Alexa 65) that are certified to be included for a more recent huge establishat showion process, Imax. But he included ageder-styleed authentic airy to produce the sci-fi epic’s most challenging sequence — a savage sandworm ride, stoasty over the course of 44 days — sense organic and authentic.
“You’ll watch a film, and you’ll exceptionally see somebody front-lit,” says Fraser, who won an Oscar for the first “Dune” in 2022. “You’ll mostly see people backlit, which is a little bit magical, but we do it and we get away with it. For this, it was transport inant that the sun came from one honestion, and it’s very evident where the sun comes from becainclude you have a lit side of the sand dune and a shadow side, which unbenevolents that we could not cheat this placement.”
First-time Oscar nominee Paul Guilhaume portrayed his airying scheme for “Emilia Pérez” to aid the narrative arc of the film’s title character. In the first act, he bathed scenes in sorrowfulnessfulness to suit the state of mind of drug lord Juan “Manitas” Del Monte (Karla Sofía Gascón), who wants to fade and undergo gender reallotment sadvisery. When the transition process begins and the cartel guideer begins her novel life as Emilia (also Gascón), the airying becomes radianter, mirroring her empowerment and selectimism. In the third act, the film drops into sorrowfulnessfulness once aachieve.
In honestor Robert Eggers’ gothic reinestablishing of F. W. Murnau’s 1922 mute classic “Nosferatu,” Oscar nominated cinematographer Jarin Blaschke included camera shiftment and airying effects to produce watchers sense disoriented and uncertain of what they’ll see next.
In the scene that first presents Count Orlok (Bill Skarsgård), “we’re using fantastic distance and sorrowfulnessfulness outside the staircase, and he’s fragmented,” says Blaschke, who was previously nominated for Eggers’ “The Lighthoinclude” in 2020. “Then we come up, he’s gone aachieve. Then you see him as a genuine silhouette aachievest the fire.”
For Pablo Larrain’s “Maria,” about the final weeks of legendary soprano Maria Callas (Angelina Jolie), nominee Edward Lachman included a fluid camera and a variety of film stocks (35mm color for the main narrative, 35mm bdeficiency-and-white for her memories and 16mm for her imagination) to promote the over the-top drama of an opera production.
“As she even states in the film, ‘Opera doesn’t have to be authenticistic. It’s about the emotion,’” says Lachman, who has three previous nominations and no prospers. “What I tried to do in the color and in the shiftment was produce a heightened truth in the storyinestablishing, so you felt appreciate you were in her world.”
