ILM developed a markerless, light-based performance capture system to de-age Robert De Niro, Al Pacino, and Joe Pesci and to preserve their Oscar-contending performances.
“Rocketman” scrambles the Elton John Songbook, while “Once Upon a Time in Hollywood” uses the the playlist from popular ’60s LA radio station KHJ.
For the introduction of the creepy Manson Family, Tarantino and his crew shifted into horror mode at the Spahn Movie Ranch.
Production designer Jade Healy channeled the beloved Fred Rogers in recreating his legendary kids show with some inspired miniature enhancements.
The production designers of Bong Joon Ho’s social thriller and Taika Waititi’s anti-hate satire created houses that function as central characters with hidden secrets.
The soundscape for James Mangold’s spectacular Le Mans recreation was not only thrilling, but also personalized with the Zen-like quiet of “The Perfect Lap.”
The remarkable makeup/hairstyling and costuming helped Egerton and Zellweger pull off their spot-on performances as Elton and Judy.
DPs explain how they created the visual language of “Joker,” “Irishman,” “Once Upon a Time in Hollywood,” “Parasite,” and more.
Arianne Phillips dressed Leonardo DiCaprio, Brad Pitt, and Margot Robbie in a 1969 clash of old and new Hollywood.
Cinematographer Hong Kyung-pyo explains the visual intricacies of conveying class divide through vertical compositions, rain, stairs, and contrasting lighting conditions.
New York City became major characters through world building, evoking the unstable mental states of Joaquin Phoenix’s Arthur Fleck and Edward Norton’s Lionel Essrog.
“Bombshell” and “Rocketman” get a head start in the Oscar race for Best Makeup and Hairstyling with three nominations apiece.
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