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OSCARS WRAP UP www.postmagazine.com 30 POST MARCH 2016 Deakins for Sicario, Ed Lachman for Carol, and Emmanuel Lubezki for The Revenant. The latter already joined a very exclusive group of back-to- back winners after he repeated his Gravity win from the year before with last year's win for Birdman. Could he three-peat? The Hateful Eight was lovingly presented in the long-dormant Ultra Panavision 70 format and shot by Tarantino's long-time DP Robert Richardson. The three-time Oscar winner — for Hugo, The Aviator and JFK — also shot Django, Inglourious Basterds and Kill Bill: Vol 1 & 2 for the director. Ironically, while Richardson has received 10 nominations from the American Society of Cinematographers, but has yet to win, Roger Deakins has now, with Sicario, received a total of 12 Oscar nominations, but has yet to win — despite four ASC Awards. On the hit action-thriller Sicario, which reteamed Deakins with director Denis Villeneuve, the DP shot the vivid drug tale on Arri Alexa XTs and pushed his craft by using techniques such as a thermal imaging sequence to put audiences right in the middle of the action. Mad Max: Fury Road was shot by John Seale, the acclaimed Aussie cinematographer who won the Oscar for The English Patient and whose credits include Cold Mountain, The Perfect Storm, Rain Man, Harry Potter and the Sorcerer's Stone, and Lorenzo's Oil with Miller. It was the DP's first digital film and first time shooting with Alexas and — amazingly, given the non-stop action — the film was predominantly a one-camera shoot. And while celluloid has been given its death sentence by dig- ital practitioners for many years now, it's telling that two of the nominees — Richardson and Carol's Ed Lachman — shot on film (the latter on Super 16mm). And the Oscar went to…Lubezki, who made Oscar history as the first DP ever to win three in a row, for his brilliant work using natural light and the new Arri Alexa 65s in sub-freezing condi- tions on The Revenant. FILM EDITING After his glaring omission last year, along with editor Douglas Crise, for their stunning work on Birdman, Stephen Mirrione was again nominated, for his equally-masterful work on The Revenant. But he was up against other editors also highly deserving of Oscar; Hank Corwin, who won the LA Film Critics Assn. award for his brilliant cutting on The Big Short, where he matched rhythms with its characters' personalities; Margaret Sixel, who'd never cut an action film before Mad Max: Fury Road; Spotlight's Tom McArdle, who expertly laid out the journalism procedural; and Star Wars: The Force Awakens' Maryann Brandon and Mary Jo Markey, who juggled action, drama and comedy. Films (bottom L to R) Room, Star Wars: The Force Awakens, Bridge of Spies, Inside Out, The Martian and The Big Short were honored. The Spotlight producers (be- low) and Ex Machina VFX team (bottom right) were also big winners.