The Saturns, which honor the best in genre entertainment across film and television, are organized by the Academy of Science Fiction, Fantasy and Horror. Winners will be announced February 4, 2024 in a ceremony at the LA Marriott Burbank Airport Hotel and will stream live on ElectricNow.

Best Action / Adventure Film

Bullet Train (Sony Pictures) The Equalizer 3 (Sony Pictures) Fast X (Universal Pictures) John Wick: Chapter 4 (Lionsgate Films) Mission: Impossible – Dead Reckoning Part One (Paramount Pictures) The Woman King (TriStar Pictures)

Best Film Screenwriting

Avatar: The Way of Water, James Cameron and Rick Jaffa & Amanda Silver (Walt Disney/Lightstorm) Barbie, Noah Baumbach & Greta Gerwig (Warner Bros. Pictures) The Menu, Seth Reiss & Will Tracy (Searchlight Films) Mission: Impossible – Dead Reckoning Part One, Erik Jendresen & Christopher McQuarrie (Paramount Pictures) Oppenheimer, Christopher Nolan (Universal Pictures) Pearl, Ti West & Mia Goth (A24)

Best Film Editing

Avatar: The Way of Water, Stephen Rivkin, David Brenner, John Refoua, James Cameron (Walt Disney/Lightstorm) Fast X, Dylan Highsmith, Kelly Matsumoto, Corbin Mehl, Laura Yanovich (Universal Pictures) Indiana Jones and the Dial of Destiny, Andrew Buckland, Michael McCusker, Dirk Westervelt (Lucasfilm/Paramount/Disney) John Wick: Chapter 4, Nathan Orloff (Lionsgate Films) Mission: Impossible – Dead Reckoning Part One, Eddie Hamilton (Paramount Pictures) Oppenheimer, Jennifer Lane (Universal Pictures)

Best Film Visual / Special Effects

Avatar: The Way of Water, Joe Letteri, Richard Baneham, Eric Saindon, Daniel Barrett (Walt Disney/Lightstorm) The Creator, Jay Cooper, Ian Comley, Andrew Roberts, Neil Corbould (20th Century Studios) Guardians of the Galaxy-Vol. 3, Stephane Ceretti, Alexis Wajsbrot, Guy Williams, Dan Sudick (Marvel/Walt Disney Studios) Indiana Jones and the Dial of Destiny, Andrew Whitehurst, Kathy Siegel, Robert Weaver, Alistair Williams (Lucasfilm/Paramount/Disney) Mission: Impossible – Dead Reckoning Part One, Alex Wuttke, Simone Coco, Jeff Sutherland, Neil Corbould (Paramount Pictures) Oppenheimer, Andrew Jackson, Giacomo Mineo, Scott Fisher, Dave Drzewiecki (Universal Pictures)

Best Science Fiction Television Series

Andor (Lucasfilm/Disney+) Foundation (Apple TV+) The Mandalorian (Lucasfilm/Disney+) The Peripheral (Amazon) Silo (Apple TV+) Star Trek: Picard (Paramount+/CBS) Star Trek: Strange New Worlds (Paramount+/CBS)

Best New Genre Television Series

Andor (Lucasfilm/Disney+) The Ark (Electric Entertainment/Syfy) The Last of Us (HBO/Max) Lord of the Rings: Rings of Power (Amazon) Silo (Apple TV+) The Walking Dead: Dead City (AMC) Wednesday (Netflix)

Best Actress in a Television Series

Caitriona Balfe, Outlander (Starz) Lauren Cohan, The Walking Dead: Dead City (AMC) Emma D’Arcy, House of the Dragon (HBO/Max) Rebecca Ferguson, Silo (Apple TV+) Tatiana Maslany, She-Hulk: Attorney-at-Law (Marvel/Disney+) Rose McIver, Ghosts (CBS) Elizabeth Tulloch, Superman & Lois (Warner Bros. Television)

Full 2024 Oscar Winners

The full list of 2024 Oscar winners can be found below. 2024 OSCAR NOMINEES / WINNERS Best Picture “American Fiction” “Anatomy of a Fall” “Barbie” “The Holdovers” “Killers of the Flower Moon” “Maestro” WINNER: “Oppenheimer” “Past Lives” “Poor Things” “The Zone of Interest” Best Director Jonathan Glazer (“The Zone of Interest”) Yorgos Lanthimos (“Poor Things”) WINNER: Christopher Nolan (“Oppenheimer”) Justine Triet (“Anatomy of a Fall”) Martin Scorsese (“Killers of the Flower Moon”) Best Actress Annette Bening (“Nyad”) Lily Gladstone (“Killers of the Flower Moon”) Sandra Hüller (“Anatomy of a Fall”) Carey Mulligan (“Maestro”) WINNER: Emma Stone (“Poor Things) Best Actor Bradley Cooper (“Maestro”) Colman Domingo (“Rustin”) Paul Giamatti (“The Holdovers”) WINNER: Cillian Murphy (“Oppenheimer”) Jeffrey Wright (“American Fiction”) Best Supporting Actor Sterling K. Brown (“American Fiction”) Robert De Niro (“Killers of the Flower Moon”) WINNER: Robert Downey, Jr. (“Oppenheimer”) Ryan Gosling (“Barbie”) Mark Ruffalo (“Poor Things”) Best Supporting Actress Emily Blunt (“Oppenheimer”) Danielle Brooks (“The Color Purple”) America Ferrera (“Barbie”) Jodie Foster (“Nyad”) WINNER: Da’Vine Joy Randolph (“The Holdovers”) Best International Feature Film “Io Capitano” (Matteo Garrone, Italy) “Society of the Snow” (J.A. Bayona, Spain) “The Teachers’ Lounge” (İlker Çatak, Germany) WINNER: “The Zone of Interest” (Jonathan Glazer, United Kingdom) “Perfect Days” (Wim Wenders, Japan) Best Cinematography WINNER: Hoyte van Hoytema (“Oppenheimer”) Ed Lachman (“El Conde”) Matthew Libatique (“Maestro”) Rodrigo Prieto (“Killers of the Flower Moon”) Robby Ryan (“Poor Things”) Best Adapted Screenplay Noah Baumbach and Greta Gerwig and (“Barbie”) Jonathan Glazer (“The Zone of Interest”) WINNER: Cord Jefferson (“American Fiction”) Tony McNamara (“Poor Things”) Christopher Nolan (“Oppenheimer) Best Original Screenplay Samy Burch and Alex Mechanik (“May December”) Bradley Cooper and Josh Singer (“Maestro”) WINNER: Arthur Harari and Justine Triet (“Anatomy of a Fall”) David Hemingson (“The Holdovers”) Celine Song (“Past Lives”) Best Animated Feature WINNER: “The Boy and the Heron,” Hayao Miyazaki and Toshio Suzuki “Elemental,” Peter Sohn and Denise Ream “Nimona,” Nick Bruno, Troy Quane, Karen Ryan and Julie Zackary “Robot Dreams,” Pablo Berger, Ibon Cormenzana, Ignasi Estapé and Sandra Tapia Díaz “Spider-Man: Across the Spider-Verse,” Kemp Powers, Justin K. Thompson, Phil Lord, Christopher Miller and Amy Pascal Best Visual Effects “The Creator” Jay Cooper, Ian Comley, Andrew Roberts and Neil Corbould WINNER: “Godzilla Minus One” Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi and Tatsuji Nojima “Guardians of the Galaxy Vol. 3” Stephane Ceretti, Alexis Wajsbrot, Guy Williams and Theo Bialek “Mission: Impossible – Dead Reckoning Part One” Alex Wuttke, Simone Coco, Jeff Sutherland and Neil Corbould “Napoleon” Charley Henley, Luc-Ewen Martin-Fenouillet, Simone Coco and Neil Corbould Best Editing “Anatomy of a Fall” Laurent Sénéchal “The Holdovers” Kevin Tent “Killers of the Flower Moon” Thelma Schoonmaker WINNER: “Oppenheimer” Jennifer Lame “Poor Things” Yorgos Mavropsaridis Best Production Design “Barbie” Production Design: Sarah Greenwood; Set Decoration: Katie Spencer “Killers of the Flower Moon” Production Design: Jack Fisk; Set Decoration: Adam Willis “Napoleon” Production Design: Arthur Max; Set Decoration: Elli Griff “Oppenheimer” Production Design: Ruth De Jong; Set Decoration: Claire Kaufman WINNER: “Poor Things” Production Design: James Price and Shona Heath; Set Decoration: Zsuzsa Mihalek Best Makeup and Hairstyling “Oppenheimer,” Luisa Abel, Jason Hamer, Jaime Leigh McIntosh, and Ahou Mofid WINNER: “Poor Things,” Mark Couler, Nadia Stacey, and Josh Weston “Maestro,” Kay Georgiou, Sian Grigg, Kazu Hiro, and Lori McCoy-Bell “Golda,” Karen Hartley and Suzi Battersby “Society… https://chorus.fm/news/full-2024-oscar-winners/

LIAFF SPECIAL #12: Oscars 2024: Le previsioni (3)

MIGLIORI EFFETTI SPECIALI

Jay Cooper, Ian Comley, Andrew Roberts e Neil Corbould - The Creator

Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi e Tatsuji Nojima - Godzilla: Minus One

Stephane Ceretti, Alexis Wajsbrot, Guy Williams e Theo Bialek - Guardiani della Galassia Vol. 3 

Alex Wuttke, Simone Coco, Jeff Sutherland e Neil Corbould - Mission: Impossible - Dead Reckoning - Parte uno

Charley Henley, Luc Ewen, Martin Fenouillet, Simone Coco e Neil Corbould - Napoleon

MIGLIOR MONTAGGIO

Laurent Sénéchal - Anatomia di una caduta 

Kevin Tent - The Holdovers - Lezioni di vita 

Thelma Schoonmaker - Killers of the Flower Moon

Jennifer Lame - Oppenheimer

Yorgos Mavropsaridis - Povere creature!

MIGLIOR SONORO

Ian Voigt, Erik Aadahl, Ethan Van Der Ryn, Tom Ozanich e Dean Zupancic - The Creator

Steven A. Morrow, Richard King, Jason Ruder, Tom Ozanich e Dean Zupancic - Maestro

Chris Munro, James H. Mather, Chris Burdon e Mark Taylor - Mission: Impossible - Dead Reckoning - Parte uno

Willie Burton, Richard King, Gary A. Rizzo e Kevin O'Connell - Oppenheimer

Tarn Willers e Johnnie Burn - La zona d'interesse

MIGLIOR COLONNA SONORA ORIGINALE

Laura Karpman - American Fiction

John Williams - Indiana Jones e il quadrante del destino

Robbie Robertson - Killers of the Flower Moon

Ludwig Göransson - Oppenheimer

Jerskin Fendrix - Povere creature!

MIGLIOR CANZONE ORIGINALE

The Fire Inside - Flamin' Hot

I'm Just Ken - Barbie

It never went away - American Symphony

Wahzhazhe (A song for my people) - Killers of the Flower Moon

What Was I Made For? - Barbie

Voi siete d'accordo con le nostre previsioni? Fatecelo sapere nei commenti. E non dimenticatevi che la cerimonia andrà in onda nella notte fra 10 ed 11 Marzo su Rai 1.

Fashion Show 2024 👗 Brand: Chloe Collection: Ready-to-Wear Season: Womens Fall Winter 2024 Location of the event: Paris Fashion Week 2024 Video quality: 1080p (Full HD)

Models: Achol Ayor, Aivita Mūze, Alix Bouthors, Angelina Kendall, Annemary Aderibigbe, Anouk Smits, Apolline Rocco Fohrer, Canlan Wang, Catarina Guedes, Chloe Oh, Chu Wong, Diane Chiu, Doutzen Kroes, Dru Campbell, Ella Mccutcheon, Esme Cornelius, Felice Nova Noordhoff, Georgina Grenville, Glorianny Saint Fleur, Heather Diamond Strongarm, Hejia Li, Huijia Chen, Ida Heiner, Jessica Miller, Karolina Spakowski, Kristine Lindseth, Laura Helene Christensen, Lilli Cummings, Liu Wen, Liz Kennedy, Loli Bahia, Lulu Tenney, Meg Dmitruk, Mona Tougaard, Nyaduola Gabriel, Ornella Umutoni, Peris Adolwi, Rejoice Chuol, Rianne Van Rompaey, Rosalieke Fuchs, Ruby Hill, Sacha Quenby, Sara Caballero, Shuqi Lan, Stephane Kumm, Suvi Riggs, Tilda Lindstam, Vika Evseeva, Vittoria Ceretti, Yar Aguer

'...On Friday night, inside the 2,000-seat Arlington Theater, which was sold out, the fest celebrated Robert Downey Jr. with its Maltin Modern Master Award, which is named after the film critic/historian Leonard Maltin. Maltin moderated a brisk career retrospective conversation with the Oppenheimer best supporting actor Oscar nominee, who charmed the audience with his self-deprecating humor and imitations of everyone from Richard Attenborough to his late father Robert Downey Sr., prior to Downey’s costar Cillian Murphy presenting him with the award itself...

Murphy, who was introduced to a huge ovation, told the crowd: “I’ve never worked with or met anyone like Robert Downey Jr., truly. Aside from his staggering talent and his otherworldly range, he has managed to awe us with both his character and his leading man performances, his searing dramatic performances and his gut-busting comedic performances, he’s taken on and triumphed in every imaginable kind of role… It’s just mind-bending what this man his done. In my opinion, he is the most versatile actor of his generation, most likely of many generations… Robert works incredibly hard to make it look so easy, as all the great ones do. But he’s not just a great actor, he’s a kind of a unicorn, because he’s a great actor who has also risen to the level of superstardom that few of us can comprehend. I think that is because he is one of the kindest, funniest, most generous actors I have ever worked with, and all of that comes out on the screen. You see it in every single performance.””

On Saturday night, TCM host Dave Karger, for the 14th consecutive year, emceed the fest’s Virtuosos Award evening, a celebration of performers who achieved breakthroughs over the past year, which was another Arlington Theatre sell-out...

...Karger introduced six of the eight pre-announced honorees for brief individual interviews: Barbie best supporting actress Oscar nominee America Ferrera, All of Us Strangers lead actor Andrew Scott, May December supporting actor Charles Melton, The Holdovers best supporting actress Oscar nominee Da’Vine Joy Randolph, Past Lives lead actress Greta Lee and Killers of the Flower Moon best actress Oscar nominee Lily Gladstone — Rustin best actor Oscar nominee Colman Domingo and The Color Purple best supporting actress Oscar nominee Danielle Brooks had to pull out of the event due to filming obligations — noting that, by happenstance, all were performers of color and/or members of the LGBTQ community. He cracked, “In other words, you are not going to see one straight white person on stage all night long.”...

Scott discussed how meaningful it was for him to show All of Us Strangers, which depicts a same-sex relationship, in his native Ireland, where it used to be illegal for men to hold hands...

On Sunday...Jazz Tangcay moderated the Variety Artisans Award tribute to a host of Oscar nominees: Barbie songwriters Billie Eilish and Finneas (the siblings behind “What Was I Made For?” were certainly the main draw), Guardians of the Galaxy Vol. 3 VFX supervisor Stephane Ceretti, Oppenheimer composer Ludwig Göransson, Barbie production designer Sarah Greenwood and set decorator Katie Spencer, Maestro hairstyling/makeup artist Kazu Hiro, Oppenheimer film editor Jennifer Lame, Killers of the Flower Moon cinematographer Rodrigo Prieto, Spider-Man: Across the Spider-Verse sound re-recording mixer Michael Semanick and Poor Things costume designer Holly Waddington...'

Eternals crew member all but confirms crossover with upcoming Blade movie Another MCU crossover to sink our teeth...

Babylon A.D.': New Solutions for a Post Apocalyptic Journey

Alain Bielik speaks with Buf Compagnie about the variety of vfx that it created for Babylon A.D.

By Alain Bielik | Tuesday, September 2, 2008 at 12:00am

In Production | VFXWorld

The sky's the limit in Babylon A.D.'s 2013 world. All images © 20th Century Fox. Courtesy of Buf Compagnie.

The sky's the limit in Babylon A.D.'s 2013 world. All images © 20th Century Fox. Courtesy of Buf Compagnie.

In 1999, French (now Canadian) author Maurice Dantec published an influential science-fiction book called Babylon Babies. It tells the story of Hugo Toorop, a mercenary who is hired to escort a mysterious young woman across a post apocalyptic Europe in the year 2013. During their perilous journey, Toorop discovers that the woman is carrying a secret that could change the fate of the whole human race...

Mathieu Kassovitz (Gothika) has now turned the book into a gritty sci-fi epic, Babylon A.D. (now playing from Fox). The French director worked on the script for months, trimming it down, changing characters and making it possible for the 600-page story to be told in less than two hours. Two of the main alterations were changing the name of the woman from Marie to Aurora, because the original first name was too "obvious," and modifying the title from to Babylon A.D., partly because Kassovitz was worried that American audiences would understand the original title as The Babes from Babylon...

The most complex shots were completely prevised beforehand.

The most complex shots were completely prevised beforehand.

The movie was the director's first large-scale vfx project ever. Very early on, even before the script was completed, he consulted with French digital effects powerhouse Buf Compagnie. Many concepts and ideas were discussed with Founder and Manager Pierre Buffin and his team. "At that time, I think he hadn't even started to write the script," Buffin remembers. "Our discussions were based on the book itself. It was the first time that we worked with Mathieu. We found that he knew what he wanted, but at the same time, he proved to be very open to solutions and suggestions. During the following months, we managed to establish a trustful relationship and to install a fruitful and creative dialogue. The movie ended up being quite complex, not exactly in terms of technical challenges, but in terms of the variety of effects that we had to achieve. It required a great deal of highly qualified artists and a huge amount of visual research. Most of the real challenges involved creating the final battle sequence on the plaza."

A great portion of the work was environments, such as this shot over the New York skyline.

A great portion of the work was environments, such as this shot over the New York skyline.

A Unique Approach

The team at Buf included VFX Supervisor Stephane Ceretti, VFX Producer Aurelia Abate and New York VFX Unit Director Sebastien Drouin. The company ended up creating some 592 vfx shots, a huge amount by French standards. The project lasted more than a year and involved up to 100 artists. As usual, the company created the shots with a very atypical pipeline. Instead of taking a shot from department to department, with new artists carrying on the work initiated by others, Buf artists would often single-handedly tackle a shot from initial design to final composite. "Our philosophy is to work with multi-talent artists who are able to take a shot from start to completion," Buffin remarks.

The process started by previsualizing the major sequences of the movie. The animatics, as well as all the effects work, were created using a variety of proprietary software. "We did a significant amount of previs, both during pre-production and principal photography," Buffin notes. "We had a team on set to supervise the shoot everyday. Our photographers were there to document and photograph all the set-ups that would later require visual effects. However, the production team experienced serious difficulties and delays during the shoot, which led Mathieu to reconsider his approach to some of the sequences. Due to those changes, the previs work was ultimately never used."

A rocket disintegrates right before Aurora's eyes in super slo-mo.

A rocket disintegrates right before Aurora's eyes in super slo-mo.

Part of Buf's assignment included the creation of elaborate environments. One of them was a night view of the city that Toorop flies above while comfortably seated in a car being carried by a helicopter. The car was filmed hung below a crane and lit by a powerful light beam from above. Then, Buf connected the live-action car to a CG helicopter and added a 3D environment underneath. "The New York sequence required more extensive work," Buffin says. "Sebastien Drouin was the second unit director on this project. He flew to New York and shot helicopter plates of the city at night. Then, we enhanced those shots, adding many new 3D buildings and inserting multiple giant animated billboards. Since there were so many billboards, it would have required a massive effort to design and animate individual ads for each one of them. So, we created every ad that appeared in the foreground, and for the background, Mathieu had the idea to launch a contest. Production asked freelancers to create original fictitious video ads for the movie, under specific technical requirements. We ended up with enough quality material to animate all those background billboards."

The Prague sequence also featured a combination of live-action plates and CG augmentation in the city background. But the real challenge was enhancing the bombing that takes place in front of a railway station. When the bomb detonates, a huge cloud of smoke appears while the market stands are shattered and victims are catapulted in the air. It was one of the few sequences for which Buf had to create digital characters. To animate them, the studio used its trademark Video Motion Capture system. The process is not motion capture per say, as the performers do not wear any kind of marker. Instead, they are filmed by a series of video cameras. Using this multiple angle footage, animators are able to manually reproduce the performance on a digital character via keyframe animation. Buffin has always thought that, in terms of animation, creative freedom was more important than capturing a movement at once. The system was used with great success on Arthur and the Minimoys.

"We first photographed the extras in costume in Leonardo Da Vinci's famous Vitruvian Man pose," sequence supervisor Antoine Deschamps says. "We used those images to texture our digital characters. Then, we then put them in place and submitted them to a powerful force that was synchronized with the explosion. Using dynamics, we animated them being projected in the air. We also added debris flying around and a ring of dust on the ground. The market stands themselves were not retouched, nor was the explosion. The whole set was rigged with wires, so that when the bomb detonated, all the elements were mechanically pulled away from the explosion."

Explosion work was another prominent effect on Babylon A.D.

Explosion work was another prominent effect on Babylon A.D.

Extreme Slow Motion

The final sequence features an explosion that proved to be far more complex to create. A rocket is fired at Aurora, but instead of being blown apart by the blast, the young woman appears miraculously unaffected even though all hell breaks loose around her. Knowing this was THE key moment of the whole story, Kassovitz opted to show the action in ultra slow motion, with the camera circling actress Melanie Thierry while the plaza slowly disintegrated around her. This massive shot was the most complex single effect of the movie for Buf.

"The challenge was that we had to see the explosion from the inside, with all the successive actions and reactions, in an extremely slow motion," Co-Sequence Supervisor Xavier Allard recalls. "The second part of the challenge involved creating in CG the destruction, in ultra slow motion again, of the whole environment. Last but not least, because of the nature of the camera movement, we had to recreate Melanie Thierry digitally for the entire length of the shot. We started by reconstructing the environment via photogrammetry. Then, we filmed Melanie in front of a greenscreen with her hair flying around while the camera was circling her at 360°. We then inserted her in the environment."

Adds Co-Sequence Supervisor Djelloul Bekri, "For the explosion, we opted not to use digital fire, as it is very difficult to create convincing flames in 3D, and even more difficult to control them. Since we had to show the explosion from its very early stages, control was of paramount importance. So, we shot a real explosion, using four different cameras, including two shooting at very high speed. Those images were then projected onto a series of animated 3D domes representing the expanding volume of the explosion. It allowed us to perfectly control the look of the fire, its speed, its volume, its density, etc. We then added many layers of live- action smoke elements, CG smoke and dust."

Besides the explosion itself, the other tricky aspect of the shot was animating the pavement being ripped apart by the blast. Buf modeled and textured many different concrete pieces to build up a library. Due to the great number of elements, the database needed to be highly optimized for the artists to handle them with ease. Animation was also a real challenge as the pavement elements needed to break apart and fly away in a realistic way, but also in a visually pleasing manner.

The plaza was also featured earlier in the sequence via an extensive power of 10 shot. "We start with the camera high above the Earth and dive down until we ultimately only see Vin Diesel's eye," Buffin explains. "We used a succession of six different matte paintings to create the shot."

Buf had to create many seamless environments replacing real locations.

Buf had to create many seamless environments replacing real locations.

Going North

Besides the urban sequences, Buf also worked on an intricate sequence set in the Arctic. The action involves a chase between snow bikes and a drone, and no less than a nuclear submarine. The drone was created in CG by reproducing a miniature built by production. The submarine, though, was a full size prop built in a water tank in the backlot of Barrandov Studios in Prague. The submarine set could be raised out of the tank to break the ice surface. To prevent the camera from filming the real environment, the whole set was surrounded by a white cyclorama. White was chosen over blue or green to avoid unnecessary reflections on the snow surface.

"Since the actors all wore dark colors, and since the submarine was very dark too, it was quite simple to do a luminosity key to obtain a clean mask," notes Sequence Supervisor Mathilde Tollec. "We could also insert the environment in a much easier way. The landscape was created by assembling various photographs shot in Sweden. The more complex aspect of the sequence involved adding hundreds of digital extras behind a group of real actors. We created them using the same technique that was employed for the railway station bombing: the actors were photographed in costume in the Vitruvian Man pose, then the textures maps were retouched to create a greater number of characters. After that, we filmed them in VMC to gather movement references. Then, we animated them and inserted them in the scene. We had to be really careful that their behavior precisely matched what the principals were doing. Ultimately, we also added a layer of digital mist to blend all this together and enhance the polar atmosphere."

Except for the in-your-face final explosion shot, most of Buf shots will remain invisible to the audience. Their work needed to blend in with the story as not to take attention away from the character's journey. A journey that the team also took behind the scene as the troubled production took its toll on many crew members. This was not the case in post-production, though, and Buf even benefited from a very long production time. A real luxury at a time when hurried post-production has become the norm.

THE WORLD FORGE ↳ ETERNALS AUDIO COMMENTARY TRACK

Chloé Zhao: The design of all these things, they have to tell stories and they have to have a consistency to them all. And that took a long time.

Stephane Ceretti (Eternals Visual Effects Supervisor): It did.

Chloé Zhao: Steph, this is your idea for the Domo.

Stephane Ceretti: Yeah. That the World Forge was made out of Domos, which kind of tells you the story that there’s maybe more Eternals than we think there is. But they’re all on a mission, and you have these openings that are Domos that have left somewhere. And then we see all these ones [Eternals] like, “There’s plenty of them.”

P⬤21 Edición The Father Yorgos Lamprinos First Cow Kelly Reichardt I Carry You With Me Enat Sidi Nomadland Chloé Zhao Una Película de Policías Yibrán Asuad Pieces of a Woman Dávid Jancsó Fotografía First Cow Christopher Blauvelt Dune Greig Fraser Minari Lachlan Milne Nomadland Joshua James Richards Pieces of a Woman Benjamin Loeb Una Película de Policías Emiliano Villanueva Efectos Visuales / Especiales Dune Brian Connor, Paul Lambert, Tristan Myles, Gerd Nefzer Eternals Matt Aitken, Daniele Bigi, Stephane Ceretti, Neil Corbould Finch Burt Dalton, Aymeric Perceval, Anthony Smith, Scott Stokdyk Godzilla vs. Kong John Des Jardin, Bryan Hirota, Pier Lefebvre, Michael Meinardus, Kevin L. Sherwood, Kevin Andrew Smith No Time to Die Chris Corbould, Jonathan Fawkner, Joel Green, Charlie Noble Shang-Chi and the Legend of the Ten Rings Joe Farrell, Dan Oliver, Christopher Townsend, Sean Noel Walker

Vogue Paris August 2020 Brillant, Absolument Photographer: Nathaniel Goldberg Stylist: Emmanuelle Alt Hair: Stephane Lancien Makeup: Christelle Cocquet Manicure: Alexandra Janowski Cast: Vittoria Ceretti

Stephane Marais for Chanel Le Blanc Collection “Perles et Eclats”

Photographer /Director Karim Sadli

Stylist :Anastasia Barbieri

Model: Vittoria Ceretti

Casting Illusions | Marvel Studios' Eternals VFX

Casting Illusions | Marvel Studios' Eternals VFX

VFX Supervisor Stephane Ceretti talks to Lorraine Cink about how they created all of the VFX, illusions, and Deviants in the Camden scene in Marvel Studios’ Eternals. ► Watch Marvel on Disney+: https://bit.ly/2XyBSIW ► Subscribe to Marvel on YouTube: http://bit.ly/WeO3YJ Follow Marvel on Twitter: ‪https://twitter.com/marvel Like Marvel on Facebook: ‪https://www.facebook.com/marvel Watch Marvel on…

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Az Örökkévalókon dolgozó VFX Supervisor megerősítette, a legendás fekete kard feltűnik a Penge-filmben

A kérdés már csak az, hogy ki fogja forgatni a titokzatos fegyvert? #Marvel #Penge #Örökkévalók

Az Örökkévalók VFX Supervisorja, Stephane Ceretti megerősítette minap, hogy a legendás fekete kard (Ebony Blade) is szerepelni fog a Marvel Studios készítésű Penge című filmjében. Ez azok után annyira nem is meglepő, hogy Chloé Zhao elárulta, hogy az Örökkévalók stáblista utáni jelenetében Dane Whitman (Kit Harington) Pengével beszélgetett, miközben az asztalon ott hevert a titokzatos fegyver. A…

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OSCAR 2022 : MARVEL DEMANDE AUX MEMBRES DE L’ACADÉMIE DE PRENDRE EN COMPTE « ETERNALS », « BLACK WIDOW » ET « SHANG-CHI » COMME MEILLEUR FILM

Publié par Steevens Le 24 janvier à 12 h 36

Eternals

Disney et Marvel Studios ont battu des records l’année dernière avec leurs sorties de films super-héroïques, ils ne souhaitent toutefois que cela ne s’arrête pas là. Une fois de plus, Disney cherche à décrocher le prix du meilleur film aux prochains Oscars en mettant en avant Eternals de Chloé Zhao. La campagne officielle du film propose plusieurs catégories, dont celles du meilleur film, du meilleur réalisateur, de la meilleure photographie et une pléthore d’autres catégories couvrant presque tous les aspects possibles du film.

Ce ne serait pas le premier film de super-héros à tenter l’exploit. Black Panther a réussi à décrocher une nomination pour le meilleur film en 2019. Le film a également remporté certaines de ses autres nominations aux Oscars, notamment celles de la meilleure musique de film, du meilleur création de costume et du meilleur décor. Black Panther et Eternals sont tous deux reconnus pour leur casting diversifié et leurs effets visuels. Si elle est acceptée par l’Académie, il s’agira de la deuxième nomination de Chloé Zhao au titre de meilleur réalisateur, sa première étant pour Nomadland en 2020. Cette année-là, Nomadland avait remporté à la fois le prix du meilleur réalisateur et celui du meilleur film.

Le président de Marvel Studios, Kevin Feige, a mené la campagne pour le film Avengers : Endgame sorti en 2019 après parcours de Black Panther aux Oscars, poussant pour l’oscar du meilleur film avec 13 autres catégories, mais n’est reparti qu’avec une nomination pour les meilleurs effets visuels. Spider-Man : Into the Spider-Verse a remporté le prix du meilleur film d’animation aux Oscars 2019.

Ces nombreuses récompenses et nominations ne font que donner l’espoir de décrocher un l’oscar pour un film Marvel, alors que Disney roule sur le box-office, le studio aux grandes oreilles souhaite aujourd’hui s’octroyer plus d’un succès. Bien qu’Eternals a connu de très nombreuses controverses, décrochant notamment le pire score pour un film Marvel MCU sur les agrégateurs de critiques, c’est ce film que Kevin Feige souhaite le plus mettre en avant bien qu’il présentera également Black Widow et Shang-Chi. Face au trio de film Marvel, et la prétention sans limite de Disney, Kevin Feige devra faire face à Dune, No Way Home (proposé par Sony Pictures), James Bond : No Time to Die.

Voici la liste des catégories aux oscars 2022 pour lesquelles Eternals est proposé :

Meilleure image : Kevin Feige (p.g.a.) Nate Moore, (p.g.a.)

Meilleur réalisateur : Chloé Zhao

Meilleure actrice : Gemma Chan

Meilleur Acteur : Richard Madden

Meilleur second rôle féminin : Lia McHugh, Lauren Ridloff, Salma Hayek, Angelina Jolie

Meilleur second rôle masculin : Kumail Nanjiani, Brian Tyree Henry, Barry Keoghan, Don Lee, Kit Harrington

Meilleur scénario adapté : Chloé Zhao, Patrick Burleigh, Ryan Firpo, Kaz Firpo

Meilleure photographie : Ben Davis, BSC

Meilleur design de production : Eve Stewart, Michael Standish

Meilleur son : Addison Teague, Daniel Laurie, Lora Hirschberg, Juan Peralta, Gareth John

Meilleur montage de film : Craig Wood, ACE, Dylan Tichenor, ACE

Meilleur design des costumes : Sammy Sheldon Differ

Meilleur Maquillage & Coiffure : Frances Hannon, Karen Cohen

Meilleurs effets visuels : Stephane Ceretti, Matt Aitken, Daniele Bigi, Neil Corbould

Meilleure musique originale : Ramin Djawadi

Eternals 4K Blu-ray Details

Walt Disney Pictures has officially announced that it will release on 4K Blu-ray and Blu-ray Chloé Zhao's Eternals (2021), starring Gemma Chan, Richard Madden, Kumail Nanjiani, Lia McHugh, and Brian Tyree Henry. The two releases will be available for purchase on February 15.

Special Features and Technical Specs:

DOLBY ATMOS AUDIO TRACK

Audio Commentary – View the film with audio commentary by Chloé Zhao, Stephane Ceretti, Mårten Larsson

Immortalized – Phase 4 of the Marvel Cinematic Universe launches into the cosmos with the Eternals. In this behind-the-scenes documentary, dive deep into the reasons why Marvel wanted to immortalize these superheroes for the MCU.

Walks of Life – Eternals unveils Marvel's biggest and most diverse lineup of Super Heroes in one film. Hear reactions from the cast on being involved in the film and the instant sense of camaraderie that was felt on the day they all joined each other in their costumes.

Gag Reel – Watch some of the hilarious mishaps of the charming cast and crew.

Deleted Scenes

Gravity – Phastos and Jack have a conversation that leads to a breakthrough.

Nostalgia – Sprite and Makkari reminisce about humankind while overlooking the ruins of Babylon.

Movies – Gligamesh and Kingo connect over movies while crossing the Amazon River with the rest of the team.

Small Talk – Sprite confronts Dane in the museum about his interactions with Sersi.

Optional English SDH, Spanish and French Subtitles

Guardians of The Galaxy UI Reel | Screen Graphics | Territory Studio from Territory Studio on Vimeo.

Showreel covering Territory's UI concepts, design and animation for both on-set playback and VFX shots for Marvel Studio's 2014 blockbuster, Guardians of the Galaxy.

territorystudio.com/projects/guardians-of-the-galaxy/

Territory Credits - Creative Director: David Sheldon-Hicks Motion Designers: Peter Eszenyi, Nick Hill, Ryan Rafferty-Phelan, Marti Romances, Martin Aggerholm, Yugen Blake, Jay Dingle, Gabor Ekes, Ryan Jefferson Hays, David Penn, Alasdair Willson Font Designer: Lee Fasciani

Playback Credits - Compuhire

Marvel Credits - Director: James Gunn Production Designer: Charles Wood Set Decoration: Richard Roberts Art Director: Alan Payne VFX Supervisor: Stephane Ceretti VFX Producer: Susan Pickett

Reel Credits - Edit: Cristina Casanova, Marti Romances Sound Design: Zelig Sound

© 2014 Marvel Guardians of the Galaxy