2010 American Society of Cinematographers Awards Nominees
Cinematography is one of the many aspects of filmmaking that I hold in very high regard. For me especially, I'm affected more by extraordinary cinematography than almost anything else in movies. So I'm excited to announced the nominees for the 24th Annual American Society of Cinematographers Awards. Like every other guild in Hollywood, the ASC hosts its own awards to honor the very best cinematographers from this year. If you've been arguing with your friends over who did the best work, then look no further, because these 5 individuals deserve this distinction. Without further a do, let's take a look at this year's nominees.
The five finalists in the Feature Film category of the American Society of Cinematographers Outstanding Achievement Awards are: Barry Ackroyd for The Hurt Locker directed by Kathryn Bigelow, Dion Beebe for Nine directed by Rob Marshall, Christian Berger for The White Ribbon directed by Michael Haneke, Mauro Fiore for Avatar directed by James Cameron, and Robert Richardson for Inglorious Basterds directed by Quentin Tarantino. The official winner will be announced on February 27th.
Not the best picks this year. "It is a daunting challenge for our members to narrow a very competitive field down to five films that represent the most artful cinematography we have seen during the past year," says ASC President Michael Goi. "We believe these very different films have set the contemporary standard for compelling visual storytelling." I am very sad that Eric Steelberg, who was the cinematographer on Jason Reitman's Up in the Air and Marc Webb's 500 Days of Summer, wasn't nominated. He deserves to be up there with the others. In fact, I think The White Ribbon should've been knocked off in place of one of those.
if you want to knock the white ribbon out of this list , you have no clue of cinematography at all
paul on Jan 12, 2010
Ditto Paul.......Although well shot, Up in the Air could be one of the Top Ten worst films of 2009, as several respected critics have said.
CLover on Jan 12, 2010
AVATAR's cinematography is prehaps the most artful and well-deserving of this award. I know many people may disagree opposed to the many visual effects and/or animation but each of those shots were captured with digital photography and that is a very distinct kind of cinematography. Every shot's color scheme made the whole film have a sense of beauty and wonder. Aerial shots made you feel like you were flying with the actors and I know some people will say that's because of the visual effects artists but the DP created those shots and the artists just made what was inside it. Therefor, AVATAR must win! THE HURT LOCKER was too shaky, too many zooms. INGLORIOUS BASTERDS: Over used photography. THE WHITE RIBBON: B&W doesn't mean good photography and the film isn't that extravagent. (Remember SCHINDLER'S LIST?) NINE: TERRIBLE PHOTOGRAPHY!
MOHAMED on Feb 24, 2010
I'm always up for a thoughtful discussion of semantics. All the other comments now seem superfluous. Thank u for blogging. scream
Dianagarcia on Jul 6, 2010
Great article! Thanks @Diana for sharing this hilarious site! 😀
Sarah on Jul 12, 2010
New comments are no longer allowed on this post.