Tema: Oscars 2015

Y las siguientes, aún más recientes, son las nominaciones de la Visual Effects Society (VES) , que en su 13ª edición, son (solo los apartados de cine):

Outstanding Visual Effects in a Visual Effects-Driven Photoreal/Live Action Feature Motion Picture
Dawn of the Planet of the Apes
Joe Letteri
Ryan Stafford
Matt Kutcher
Dan Lemmon
Hannah Blanchini
Guardians of the Galaxy
Stephane Ceretti
Susan Pickett
Jonathan Fawkner
Nicolas Aithadi
Paul Corbould
Interstellar
Paul Franklin
Kevin Elam
Ann Podlozny
Andrew Lockley
Scott Fisher
Maleficent
Carey Villegas
Barrie Hemsley
Adam Valdez
Kelly Port
Michael Dawson
The Hobbit: The Battle of the Five Armies
Joe Letteri
David Conley
Eric Saindon
Kevin Sherwood
Steve Ingram
X-Men: Days of Future Past
Richard Stammers
Blondel Aidoo
Lou Pecora
Anders Langlands
Cameron Waldbauer
Outstanding Supporting Visual Effects in a Photoreal/Live Action Feature Motion Picture
Birdman or (The Unexpected Virtue of Ignorance)
Ara Khanikian
Ivy Agregan
Sebastien Moreau
Isabelle Langlois
Divergent
Jim Berney
Greg Baxter
Matt Dessero
The Grand Budapest Hotel
Gabriel Sanchez
Jenny Foster
Simon Weisse
Jan Burda
The Imitation Game
Stuart Bullen
Lucy Ainsworth-Taylor
Simon Rowe
Unbroken
Bill George
Steve Gaub
Erin Dusseault
Dave Morley
Brian Cox
Outstanding Animation in an Animated Feature Motion Picture
Big Hero 6
Don Hall
Chris Williams
Roy Conli
Zach Parrish
How to Train Your Dragon 2
Bonnie Arnold
Dean DeBlois
Dave Walvoord
Simon Otto
Rio 2
Carlos Saldanha
Bruce Anderson
John C. Donkin
Kirk Garfield
The Boxtrolls
Travis Knight
Anthony Stacchi
Graham Annable
Brad Schiff
The Lego Movie
Chris McKay
Amber Naismith
Jim Dodd
David Williams

Outstanding Performance of an Animated Character in a Photoreal/Live Action Feature Motion Picture
Dawn of the Planet of the Apes; Caesar
Paul Story
Eteuati Tema
Andrea Merlo
Emiliano Padovani
Dawn of the Planet of the Apes; Koba
Daniel Barrett
Alessandro Bonora
Mark Edward Allen
Masaya Suzuki
Guardians of the Galaxy; Rocket
Kevin Spruce
Rachel Williams
Laurie Brugger
Mark Wilson
Maleficent; Thistlewit
Darren Hendler
Matthias Wittmann
Jeremy Buttell
Elliot Rosenstein
Outstanding Animated Character in an Animated Feature Motion Picture
Big Hero 6; Baymax
Colin Eckart
John Kahwaty
Zach Parrish
Zack Petroc
How to Train Your Dragon 2; Hiccup
Jakob Hjort Jensen
Fabio Lignini
Stephen Candell
Hongseo Park
Rio 2; Gabi
Jason Sadler
Ignacio Barrios
Drew Winey
Diana Diriwaechter
The Boxtrolls; Archibald Snatcher
Travis Knight
Jason Stalman
Michael Laubach
Kyle Williams


Outstanding Created Environment in a Photoreal/Live Action Feature Motion Picture
Captain America: The Winter Soldier; Triskelion Headquarters
Johan Thorngren
Greg Kegel
Quentin Marmier
Luis Calero
Interstellar; Tesseract
Tom Bracht
Graham Page
Thomas Døhlen
Kirsty Clark
Lucy; Times Square
Richard Bluff
Steve Bevins
Steve DeLuca
Tiffany Yung
Noah; Antediluvian Earth
Grady Cofer
Dan Wheaton
Susumu Yukuhiro
Ben O'Brien
Outstanding Created Environment in an Animated Feature Motion Picture
Big Hero 6; Into the Portal
Ralf Habel
David Hutchins
Michael Kaschalk
Olun Riley
How to Train Your Dragon 2; Oasis
Sun Yoon
Liang-Yuan Wang
Ted Davis
Shannon Thomas
The Book of Life; Magical Land of the Remembered
Glo Minaya
Amy Chen
Sean McEwan
Jeff Masters
The Boxtrolls; Boxtroll Cavern
Curt Enderle
Rob DeSue
Emily Greene
Jesse Gregg


Outstanding Virtual Cinematography in a Photoreal/Live Action Motion Media Project
Dawn of the Planet of the Apes
Keith Miller
Jonathan Paquin
Alessandro Saponi
David Houghton Williams
Edge of Tomorrow; Beach and Paris Attacks
Albert Cheng
Jose Enrique Astacio Jr.
Michael Havart
Dion Beebe
Interstellar; Tesseract
Faraz Hameed
Stephen Painter
Hoyte van Hoytema
Dorian Knapp
X-Men: Days of Future Past; Kitchen Scene
Austin Bonang
Casey Schatz
Dennis Jones
Newton Thomas Sigel
Outstanding Models in any Motion Media Project
Big Hero 6; City of San Fransokyo
Brett Achorn
Minh Duong
Scott Watanabe
Larry Wu
The Boxtrolls; Mecha-Drill
Tom McClure
Oliver Jones
Raul Martinez
The Hobbit: The Battle of the Five Armies; Laketown
Leslie Chan
Alastair Mayer
Niklas Preston
Justin Stockton
Transformers: Age of Extinction; Knightship
Landis Fields
John Goodson
Anthony Rispoli
Dae Han
Outstanding Effects Simulations in a Photoreal/Live Action Feature Motion Picture
Captain America: The Winter Soldier; Helicarrier Broadside and Crash
Dan Pearson
Sheldon Serrao
Jose Burgos
Eric Jennings
Edge of Tomorrow; Destruction and Sand
Steve Avoujageli
Pawel Grochola
Atsushi Ikarashi
Paul Waggoner
The Hobbit: The Battle of the Five Armies
Jon Allitt
David Caeiro
Ronnie Menahem
X-Men: Days of Future Past; Quicksilver Pentagon Kitchen
Adam Paschke
Premamurti Paetsch
Sam Hancock
Timmy Lundin
Outstanding Effects Simulations in an Animated Feature Motion Picture
Big Hero 6
Henrik Falt
David Hutchins
Michael Kaschalk
John Kosnik
How to Train Your Dragon 2; The Battle
Spencer Knapp
Baptiste Van Opstal
Lucas Janin
Jason Mayer
The Boxtrolls
Kent Estep
Peter Stuart
Ralph Procida
Timur Khodzhaev
The Lego Movie
Carsten Kolve
Jayandera Danappal
Matt Ebb
Miles Green


Outstanding Compositing in a Photoreal/Live Action Feature Motion Picture
Dawn of the Planet of the Apes
Christoph Salzmann
Florian Schroeder
Quentin Hema
Simone Riginelli
Edge of Tomorrow; Beach
Craig Wentworth
Matthew Welford
Marie Victoria Denoga
Frank Fieser
Interstellar; Water
Raphael Hamm
Isaac Layish
Sebastian Von Overheidt
Tristan Myles
The Hobbit: The Battle of the Five Armies
Simon Jung
Ben Roberts
Matthew Adams
Jordan Schilling



El 4 de febrero se conocerá los ganadores, sabiendo de antemano que el premio especial honorífico, el Visionary Award será entregado al director, productor y guionista J. J. Abrams.
Según la nota de esta sociedad, no han podido contar con la presencia de Ridley Scott, y por eso, esperarán a un futuro para entregarle el Lifetime Achievement Award (el premio a toda una carrera).

Nominados al gremio de directores

Alejandro Gonzalez Iñarritu por Birdman
Richard Linklater por Boyhood
Wes Anderson por Gran Hotel Budapest
Clint Eastwood por American Sniper
Molten Tyldum por The imitation Game

Nominaciones del Gremio de directores (Directors Guild of America, DGA)

· Wes Anderson {The Grand Budapest Hotel}
· Clint Eastwood {American Sniper}
· Alejandro G. Iñárritu {Birdman or (The Unexpected Virtue of Ignorance)
· Richard Linklater {Boyhood}
· Morten Tyldum {The Imitation Game}

Fuente: http://www.dga.org/News/PressRelease...Film-Noms.aspx

Para mi ha sido una sorpresa ver a Eastwood y Tyldum en vez de, por ejemplo, Fincher o Dan Gilroy.

A día de hoy el favorito creo que es Linklater, pero yo no descarto aún a Iñárritu o Anderson. Me parece interesante, además, que este trío de directores también estén siendo premiados en su faceta de guionistas.

De cara a las nominaciones al Oscar, creo que ahora las nominaciones del DGA influyen menos ya que se hacen públicas sólo dos días antes de las nominaciones de la Academia. Yo creo que Iñárritu, Anderson y Linklater también serán nominados al Oscar y las dos plazas que quedan por cubrir una yo se la daría a Fincher y la quinta ya veremos a quién.

Saludos

Draconary, veo que he estado algo lento

Saludos

Añado varios datos interesantes sobre los nominados y el premio en sí:

- Estos premios se crearon en 1948. Entre los ilustres que conformaban el primer Comité encargado de los mismos estaban John Ford, Frank Capra o Norman Taurog.

- El primer ganador fue Joseph L. Mankiewicz por Carta a tres esposas.

- Estamos por tanto, ante la edición 67ª de los mismos.

. Para Wes Anderson es su primera nominación, igual que para Richard Linklater y Morten Tyldum.
. Iñarritu logra su tercera nominación. Antes estuvo nominado por Babel, en el 2006, y ganó en el 2012 en el apartado de anuncio comercial por "Best job"
. Para Eastwood es su cuarta nominación. Antes, ganó dos veces, por Million dollar baby, en el 2004 y por Sin Perdón, en 1992. Estuvo nominado también por Mystic river, en el 2003. Desde el 2006 posee el Lifetime Achievement Award, el premio honorífico a la trayectoria como director.

- El 7 de febrero se sabrá quién gana.

Ahora mi opinión o valoración, para no desvirtuar los datos objetivos

- Me alegro de que Anderson "corra con un buen caballo". Parece que estamos ante el año de su consagración definitiva. Seguro que cosecha muchas importantes nominaciones.

- También es una alegría ver a Eastwood. También como Anderson, pero desde más tiempo, es fiel a un estilo propio y eso tiene mucho valor en Hollywood.

- Creo que estamos ante un año "especial" para los directores nominados. Salvo Eastwood, por veterano, y Tyldum, por llevar menos tiempo, estamos ante tres directores que llevan años haciendo las cosas bien (Anderson, Iñarritu, Linklater), sin apenas reconocimiento en premios. Ahora parece que ha llegado su momento.

- Por mi no me importaría que se quedara tal cual en los Oscar, pero intuyo alguna variación. Y más por el lado de que entre una mujer en liza (Ava Duvernay) que por el de David Fincher, al que nunca hay que dar por muerto.

Vamos al apartado "bipolar" de cada Gala. Algunos reaccionan con "qué interesantes" y otros con "me aburro"

Me refiero a los 21 avances y logros en los aspectos técnicos y científicos del cine, que se premian en esta edición. Yo siempre he creído que realmente por sí solos, en el espectador medio, no llaman la atención, pero que a medio y largo plazo, son los responsbles de buena parte del avance y cambios en la forma de entender y de mostrarnos el cine. Por ejemplo, véase esa fantástica aplicación de las "modernidades" el año anterior, con Gravity, o este año, con Birdman, y hablo de películas "no palomiteras".
Y es que la tecnología puede estar al servicio de buenos films ,incluso blockbusters, como esos fantásticos Guardianes de la Galaxia o las últimas de Marvel o las últimas entregas de los simios o las fantásticas de animación, tipo Cómo entrenar a tu dragón o La Lego.

TECHNICAL ACHIEVEMENT AWARDS (ACADEMY CERTIFICATES)
To Peter Braun for the concept and development of the MAT-Towercam Twin Peek, a portable, remote-controlled, telescoping column that smoothly positions a camera up to 24 feet vertically.
This small cross-section system from Mad About Technology can operate from above or below the camera, achieving nearly impossible shots with repeatable movements through openings no larger than the camera itself.
To Robert Nagle and Allan Padelford for The Biscuit Jr. self-propelled, high-performance, drivable camera and vehicle platform.
The Biscuit Jr.’s unique chassis and portable driver pod enables traveling photography from a greater range of camera positions than previously possible, while keeping actors safe and the rig out of frame.
To Harold Milligan, Steven Krycho and Reiner Doetzkies for the implementation engineering in the development of the Texas Instruments DLP Cinema digital projection technology.
Texas Instruments’ color-accurate, high-resolution, high-quality digital projection system has replaced most film-based projection systems in the theatrical environment.
To Cary Phillips, Nicolas Popravka, Philip Peterson and Colette Mullenhoff for the architecture, development and creation of the artist-driven interface of the ILM Shape Sculpting System.
This comprehensive system allows artists to quickly enhance and modify character animation and simulation performances. It has become a crucial part of ILM’s production workflow over the past decade.
To Tim Cotter, Roger van der Laan, Ken Pearce and Greg LaSalle for the innovative design and development of the MOVA Facial Performance Capture system.
The MOVA system provides a robust way to capture highly detailed, topologically consistent, animated meshes of a deforming object. This technology is fundamental to the facial pipeline at many visual effects companies. It allows artists to create character animation of extremely high quality.
To Dan Piponi, Kim Libreri and George Borshukov for their pioneering work in the development of Universal Capture at ESC Entertainment.
The Universal Capture system broke new ground in the creation of realistic human facial animation. This technology produced an animated, high-resolution, textured mesh driven by an actor’s performance.
To Marco Revelant for the original concepts and artistic vision, and to Alasdair Coull and Shane Cooper for the original architectural and engineering design, of the Barbershop hair grooming system at Weta Digital.
Barbershop’s unique architecture allows direct manipulation of full-density hair using an intuitive, interactive and procedural toolset, resulting in greatly enhanced productivity with finer-grained artistic control than is possible with other existing systems.
To Michael Sechrest for the modeling design and implementation, Chris King for the real-time interactive engineering, and Greg Croft for the user interface design and implementation of SpeedTree Cinema.
This software substantially improves an artist’s ability to create specifically designed trees and vegetation by combining a procedural building process with the flexibility of intuitive, direct manipulation of every detail.
To Scott Peterson, Jeff Budsberg and Jonathan Gibbs for the design and implementation of the DreamWorks Animation Foliage System.
This toolset has a hierarchical spline system, a core data format and an artist-driven modeling tool, which have been instrumental in creating art-directed vegetation in animated films for nearly two decades.
To Erwin Coumans for the development of the Bullet physics library, and to Nafees Bin Zafar and Stephen Marshall for the separate development of two large-scale destruction simulation systems based on Bullet.
These pioneering systems demonstrated that large numbers of constrained rigid bodies could be used to animate visually complex, believable destruction effects with minimal simulation time.
To Brice Criswell and Ron Fedkiw for the development of the ILM PhysBAM Destruction System.
This system incorporates innovative research on many algorithms that provide accurate methods for resolving contact, collision and stacking into a mature, robust and extensible production toolset. The PhysBAM Destruction System was one of the earliest toolsets capable of depicting large-scale destruction with a high degree of design control.
To Ben Cole for the design of the Kali Destruction System, to Eric Parker for the development of the Digital Molecular Matter toolkit, and to James O’Brien for his influential research on the finite element methods that served as a foundation for these tools.
The combined innovations in Kali and DMM provide artists with an intuitive, art-directable system for the creation of scalable and realistic fracture and deformation simulations. These tools established finite element methods as a new reference point for believable on-screen destruction.
To Magnus Wrenninge for leading the design and development of Field3D.
Field3D provides a flexible and open framework for storing and accessing voxel data efficiently. This allows interchange between previously incompatible modeling, simulation and rendering software.
To Robert Bridson for early conceptualization of sparse-tiled voxel data structures and their application to modeling and simulation.
Robert Bridson’s pioneering work on voxel data structures and its subsequent validation in fluid simulation tools have had a significant impact on the design of volumetric tools throughout the visual effects industry.
To Ken Museth, Peter Cucka and Mihai Alden for the creation of OpenVDB.
OpenVDB is a widely adopted, sparse hierarchical data structure that provides a fast and efficient mechanism for storing and manipulating voxels.

SCIENTIFIC AND ENGINEERING AWARDS (ACADEMY PLAQUES)
To lain Neil for the optical design, and to Andre de Winter for the mechanical design, of the Leica Summilux-C series of lenses.
Incorporating novel telecentric multi-element aspherical optics, these camera lenses have delivered unprecedented optical and mechanical performance.
To Brad Walker, D. Scott Dewald, Bill Werner, Greg Pettitt and Frank Poradish for their contributions furthering the design and refinement of the Texas Instruments DLP Cinema projection technology, whose high level of performance enabled color-accurate digital intermediate preview and motion picture theatrical presentation.
Working in conjunction with the film industry, Texas Instruments created a high-resolution, high-quality digital projection system that has replaced most film-based projection systems in the theatrical environment.
To Ichiro Tsutsui, Masahiro Take, Mitsuyasu Tamura and Mitsuru Asano for the development of the Sony BVM-E Series Professional OLED Master Monitor.
These precise, wide-gamut monitors allow creative image decisions to be made on set with confidence that the desired images can be accurately reproduced in post-production.
To John Frederick, Bob Myers, Karl Rasche and Tom Lianza for the development of the HP DreamColor LP2480zx Professional Display.
This cost-effective display offered a stable, wide color gamut, allowing facility-wide adoption in feature animation and visual effects studios.

ACADEMY AWARD OF COMMENDATION (SPECIAL PLAQUE)
To Steven Tiffen, Jeff Cohen and Michael Fecik for their pioneering work in developing dye-based filters that reduce IR contamination when neutral density filters are used with digital cameras.
The Tiffen Company identified the problem and rapidly engineered a series of absorptive filters that ameliorated infrared artifacts with lenses of all focal lengths. These widely adopted filters allow cinematographers to work as they have done with film-based technology.

ACADEMY AWARD OF MERIT (OSCAR STATUETTE)
To Dr. Larry Hornbeck for the invention of digital micromirror technology as used in DLP Cinema projection.
The Digital Micromirror Device (DMD) is the core technology that has enabled Texas Instruments’ DLP Cinema projection to become the standard of the motion picture industry.

GORDON E. SAWYER AWARD (OSCAR STATUETTE)
David W. Gray
Given to an individual in the motion picture industry whose technological contributions have brought credit to the industry.

Aquí, la foto de familia del año pasado, con los galardonados

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Ya se está terminando de adecentar el salón donde se anunciarán las nominaciones de los Premios de la Academia, mañana jueves. Esto es de hace escasas 4 horas.