Films shot on film, fake AI controversy, a collection of CG apes, and a trio of nods to Robbie Williams make the list of nominees for Cinematography, Editing and VFX Academy Awards.
Robbie Williams has his paw prints all over the Oscars. In Netflix’s 13-times nominated genre-bending musical drama, Emilia Pérez, his 2013 song ‘Swing Supreme’ plays at a dinner party scene in London that marks a crucial turning point in the characters' lives.
The credits roll and the needle drops on Williams' former band Take That’s ‘Greatest Day’ while the camera tracks down a lineup of fishnet-clad dancers at the start of six-times nominated Anora.
And, of course, in Better Man, Williams thumbs his nose at the establishment in a biopic which receives a single Oscar nod for the VFX rendition of the pop minstrel as a chimp.
Three of the five nominations for Cinematography are shot on old-school celluloid keeping up the astonishing hit ratio of awards-nominated movies shot on film, which is around 5% of all films shot every year.
AI also features this year ...
You are not signed in.
Only registered users can view this article.
New tricks: Scriptwriters embrace AI to turn the tables
The studio model is being upended by seismic business pressures and the disruptive potency of AI. For two seasoned scriptwriters and producers partnered as Talk Boys Studio, the answer was to create a short film that could be the bellwether for a new wave of narrative generative AI content.
All-pervading AI: a look ahead to 2025
January has only just come to an end, but we are already looking ahead to the next IBC, which takes place as usual at the Amsterdam RAI in September. In the meantime, Content Everywhere companies are polishing their crystal balls and making predictions about what might lie ahead for the video services and streaming industry in the next twelve months.
Rise of the creator economy – the democratisation of content creation
Virtually non-existent before 2019, the term ‘creator economy’ has been on a rocket-like trajectory in recent years. But what exactly is it, and how does it differ from the economies that exist around traditional creative industries like broadcasting and film? John Maxwell Hobbs investigates.
ISE 2025 preview: Event demonstrates ubiquity of live streamed video
This year’s ISE is expected to feature a significant presence of vendors and executives with at least one foot in media and entertainment – a sector which is now fuelling ProAV growth, according to trade body and ISE show co-organiser AVIXA. Adrian Pennington reports.
Contribution technology: Streaming protocols and the need for orchestration
As broadcasters seek to provide more content with fewer resources, they are looking to IP streaming protocols within the production and contribution part of the workflow to deliver efficiencies.
