Recently a group of Irish Post Production houses specializing in VFX have formed the (VFXAI) Visual FX Association of Ireland, This is the link to article on the IFTN web sitehttp://iftn.ie/news/?act1=record&only=1&aid=73&rid=4286758&tpl=archnews&force=1
For last four years the Oscar for Best Cinematography was “shared” with Visual Effects in (2009) Avatar, (2010) Inception, (2011) Hugo, (2012) Life of Pi.
Will this year “Gravity” Director of Photography Emmanuel “Chivo” Lubezki, ASC, AMC, and VFX team continue a four-year tradition of winning respective Oscars for an equal input in the final imagery of the film? GRAVITY: DOP Emmanuel “Chivo” Lubezki, ASC
Director Alfonso Cuaron has said that roughly 80 percent of Gravity was hand animated in the computer. In fact, when the actors are seen in space, only their faces come from live action photography. The environments and their bodies -- even the visors in front of their faces, are CGi.
The exceptionality of "Gravity" is in expanding limits of virtual cinematography. Many debates ensued and many questions were and will be asked, and elements of confusion are still present in many disputes where the center of discussion is – in the final, “synthetic” image, produced by means of combination of “traditional” and computer-based “virtual” photography, where is the fine line which divides two separate groups of artists and craftsmen? INSIDE LLEWYN DAVIS: DOP Bruno Delbonnel, ASC, AFC Last year the current Academy president Cheryl Boone Isaacs stated: "Technology is changing the definitions of what we do" and the former Academy president and current co-president of the PGA Hawk Koch suggested that perhaps it’s time to come up with a new category called “Visual Imaging”.
Maybe this is the correct solution to establish the new award that will reflect the new reality of image making. It will be fair not only to all creators of “synthetic” images, but also to traditional Directors of Photography.
But let us not forget that nominations for the Best Cinematography also goes to "The Grandmaster" (Philippe Le Sourd), "Inside Llewyn Davis" (Bruno Delbonnel, ASC, AFC), "Nebraska" (Phedon Papamichael, ASC), and "Prisoners" (Roger Deakins, ASC, BSC).
Cinematography is not a single monolith body. It is a field with many different “flowers” which include big studio films, low-budget independents, features shot on both film and digital, color and black-and-white. Each genre of cinematography, beside general requirement to the artistry and craftsmanship, also necessitates a different set of skills and talents. And all achievements in those must have a fair chance to be noticed, recognized and appreciated.