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The nominees are Mia Neal, Jamika Wilson, Ren Klyce and Coya Elliott.
On the morning of the Oscar nominations, the craft categories included a historic first in makeup and hair, among a few notable recognitions.
For their work on Ma Rainey’s black background, two women, Mia Neal and Jamika Wilson, became the first Black Oscar nominees in the makeup and hairstyle category. Neal was the film’s hair and wig designer and head of the styling department, and Wilson is star Viola Davis’ personal hairstylist. Davis’ personal makeup artist and first-time nominee Sergio Lopez-Rivera shares the nomination with these women.
NomadlandChloe Zhao won one of her four Oscar nominations for Editing, with Best Cinematography, Directing, and Writing. It’s rare for a director to win an Oscar for editing his film, the last time was in 2014 when Alfonso Cuarón shared the Oscar for editing with Mark Sanger for Gravity.
Trent Reznor and Atticus Ross garnered two Oscar nominations, for scores of Soul, a nomination they share with Jon Batiste, and David Fincher’s period biopic Mank. They previously won this category for Fincher’s The social network.
Skywalker Sound’s Ren Klyce won two nominations in sound (the newly combined category for editing and sound mixing) for the same two films, Mank and Soul. Klyce oversees sound editing and re-recording mixer on both films (and is also credited as sound designer on Soul). These are his eighth and ninth Oscar nominations.
The Apple TV + War Movie Doggy style marks the 13th Oscar nomination for Michael Minkler, for whom a win would be his fourth. He had previously taken statuettes for the sound mixing on Dream girls, Chicago and Black hawk down.
Two women are nominated for best sound: Soul supervisor of sound editor Coya Elliott and Sound of metal re-recording mixer Michelle Couttolenc. With a win, either would join a short list of Oscar-winning women in sound. For both, this is their first appointment.
The visual effects category saw the nomination of Geneviève Camilleri for Love and monsters. To date, only two VFX Oscar recipients have been female: Sara Bennett for 2016 Ex Machina and Suzanne M. Benson, for the years 1986 Aliens.
This year, there was the potential to see the first documentary earn a VFX nomination, as Welcome to Chechnya was shortlisted for its profound use of digital facial replacement to disguise participants in David France’s column on the anti-LGBTQ campaign in the Russian republic and efforts to save victims of its brutality. And Soul, also shortlisted, would have been only the fourth animated film to earn a VFX name. Neither film made it to the bottom five.
VFX nominees included Midnight sky, managed by the house VFX Framestore (Gravity); Mulan, led by Weta (The Lord of the Rings); Love and monsters and The one and only Ivan, both led by Technicolor’s MPC (1917); and Principle, led by DNEG (Interstellar).
The Cinematography category includes four first-time nominees: Sean Bobbitt for Judas and the Black Messiah, Erik Messerschmidt for Mank, Dariusz Wolski for World news and Joshua James Richards for Nomadland. This is the second nomination for The Chicago 7 trial‘s Phedon Papamichael, who was previously recognized for Nebraska. (Rachel Morrison remains the only woman to be nominated for an Oscar in Cinematography.)
The Oscar for Cinematography was first awarded in 1928. In 1939, the award was divided into two different categories, color and black and white. But in 1968, cinematography again became a unique category. Since then, only two black and white films have won the category: Schindler’s list in 1994 and Roma in 2019. Mank is in the running to become the third.
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