![]() but I just don't see the artistic value of making everything look 'the same'. I understand the theories behind it, how it creates great contrast, how skin-tones pop etc. I remember a cool blogpost which addressed this problem ( ) in 2010, but so three years later we still have all these blockbusters bathed in blue and orange tones. I can't deny the film looks gorgeous but to me that look really is starting to become boring and predictable. ![]() Maybe some greens in the scotland-scenes and that's about it. There was hardly a scene with any other dominant color. It's in the lightning, set decoration and costumes. Skyfall literally is drenched in the duo tones of teal/blue & orange. Parts of it are truly amazing to look at, especially the tense sequence in the abandoned building in Shanghai where he uses glass, lightning and tons of reflections to create an amazingly dense atmosphere that's just artistic enough to be noticed without taking you out of the story.īut is it just me, or is -again- an example of our modern addiction to the teal & orange look?! Is it just because I now that I know this look I spot it more often, or is it a real change in the way we light and color our films these days. And no doubt, Deakins shot a beautiful movie. After all the praise I wanted to see what all the fuss was about. Last year, Tree of Life won the award.So I just recently watched Skyfall and was curious about the cinematography of Roger Deakins. It's redeeming to finally see Deakins win, especially as acclaimed and recognizable as the American Society of Cinematographers top prize. I loved the cinematography in Skyfall, and not just because it was Bond, but because it looked incredible. ![]() Deakins is nominated at the 85th Academy Awards, his ninth time getting a Best Cinematography nom, but it could be he first win-he still hasn't won yet. The ASC Awards are not the biggest predictor for the Oscars, with films going on to win an Oscar slightly less than half the time. ASC doesn't award documentaries.Īt the moment, Deakins gained a bit of momentum with this high profile win. On the other side (via The Wrap), the ASC also awarded TV prizes to: Balazs Bolygo and Kramer Morgenthau, tying, for one-hour show for Cinemax's Hunted and HBO's Game of Thrones, respectively Florian Hoffmeister won the movie/miniseries award for PBS' Great Expectations, and Bradford Lipson won the half-hour episodic category for FX's Wilfred. ![]() Bravo!ĭeakins' fellow nominees this year included: Danny Cohen for Les Miserables, Claudio Miranda for Life of Pi, Seamus McGarvey for Anna Karenina and of course, Janusz Kaminski for Lincoln. Deakins just lost the BAFTA award to DP Claudio Miranda for Life of Pi this weekend, but this is finally a deserving win, the one where even his peers have come to recognize how stunning the cinematography in Skyfall really is. The 27th Annual ASC Outstanding Achievement Awards were held last night in Hollywood, and the big 2013 winner was Roger Deakins, taking top prize for his work on James Bond's Skyfall. ![]() Finally, a celebrated win for the cinematographer who shot the best looking movie of 2012! It's time for the American Society of Cinematographers award, honoring the talented people behind the camera. ![]()
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