NAGRODY BRANŻOWE

Tutaj dyskutujemy o poszczególnych ścieżkach dźwiękowych napisanych na potrzeby kina.
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Adam
Jan Borysewicz
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Re: NAGRODY BRANŻOWE

#4126 Post autor: Adam » pn kwie 08, 2019 13:32 pm

nomy słabe, no ale ascap ma słaba reprezentację. co najlepsza wierchuszka filmówki jest w bmi.
#FUCKVINYL

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Mystery
James Horner
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Re: NAGRODY BRANŻOWE

#4127 Post autor: Mystery » pn kwie 08, 2019 13:35 pm

Ważniejsze scory i kompozytorzy roku są, a słaby to jest tam może Balfe :P

hp_gof

Re: NAGRODY BRANŻOWE

#4128 Post autor: hp_gof » śr kwie 24, 2019 18:46 pm

O muzyce nic, ale i tak wklejam, bo to ciekawe ;)
Rada podjęła kilka zmian w regulaminie Oscarów:

Kategoria doceniająca filmy nieanglojęzyczne/obcojęzyczne/zagraniczne, od teraz będzie się nazywała „International Feature Award”, czyli „Międzynarodowy Film Fabularny”. Akademia podkreśla, że określenie "zagraniczny" jest przestarzałe w odniesieniu do globalnej społeczności filmowców. Wierzymy, że międzynarodowy film fabularny lepiej reprezentuje tę kategorię i promuje pozytywny oraz wszechstronny pogląd na film oraz sztukę filmową, jako uniwersalne doświadczenie – stwierdzili przedstawiciele komitetu zajmującego się filmami międzynarodowymi.

Jednocześnie powiększona została lista międzynarodowych filmów, które znajdą się na skróconej liście do Oscara. Do tej pory było ich dziewięć, a od najbliższej edycji Oscarów znajdzie się na niej 10 tytułów. Siedem z nich wybierze Międzynarodowy Komitet Filmów Fabularnych, a trzy dodatkowe wskaże Komitet Wykonawczy zajmujący się tą właśnie kategorią.

W związku z rosnącą produkcją pełnometrażowych filmów animowanych, Akademia odstąpiła od zapisu w regulaminie, który wymagał w ciągu roku premiery minimum ośmiu filmów animowanych, aby kategoria ta mogła zaistnieć na Oscarach. Głosowanie na nominacje w tej kategorii będzie dostępne dla wszystkich członków Akademii zasiadających w Oddziale zajmującym się animacjami. Pozostali członkowie Akademii chcący głosować na nominacje, muszą wyrazić swoją zgodę na udział w głosowaniu.

W kategorii doceniającej charakteryzację i fryzury, od najbliższej edycji przyznanych zostanie pięć nominacji, a nie trzy – jak dotychczas.
http://sporwkinie.blogspot.com/2019/04/ ... lix-w.html

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qnebra
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Re: NAGRODY BRANŻOWE

#4129 Post autor: qnebra » śr kwie 24, 2019 21:08 pm

Cały paragraf o muzyce z oficjalnego dokumentu Akademii z zasadami 92-ego rozdania Oscarów:

RULE FIFTEEN
SPECIAL RULES FOR THE
MUSIC AWARDS
I. CATEGORIES
A. Original Score:
An original score is a substantial body of music that serves as original dramatic underscoring and is
written specifically for the motion picture by the submitting composer(s).
B. Original Song:
An original song consists of words and music, both of which are original and written specifically for
the motion picture. There must be a clearly audible, intelligible, substantive rendition (not
necessarily visually presented) of both lyric and melody, used in the body of the motion picture or as
the first music cue in the end credits.
C. Original Musical:
An original musical consists of not fewer than five original songs (as defined in Paragraph I.B above)
by the same writer or team of writers, either used as voiceovers or visually performed. Each of these
songs must be substantively rendered, clearly audible, and intelligible, and must further the storyline
of the motion picture. An arbitrary group of songs unessential to the storyline will not be considered
eligible.
II. ELIGIBILITY
A. The work must be created specifically for the eligible feature-length motion picture.
B. The work must be the result of a creative interaction between the filmmaker(s) and the composer(s)
and/or songwriter(s) who have been engaged to work directly on the motion picture.
C. The work must be recorded for use in the motion picture prior to any other usage, including public
performance or exploitation through any media whatsoever.
D. Only the principal composer(s) or songwriter(s) responsible for the conception and execution of
the work as a whole shall be eligible for an award. Expressly excluded from eligibility are all of the
following:
1. music supervisors
2. partial contributors (i.e., any writer not responsible for the overall design of the work)
3. contributors working on speculation
4. producers and/or arrangers not responsible for the creation of the original song or score
E. A score shall not be eligible if:
1. it has been diluted by the use of pre-existing music, or
2. it has been diminished in impact by the predominant use of songs or any music not composed
specifically for the film by the submitting composer, or
3. it has been assembled from the music of more than one composer.
F. No more than one statuette will normally be given in the Original Score category. A second statuette
may be awarded when two credited composers function as equal collaborators, each contributing fully
to the original dramatic underscore for the film. In cases where three or more credited composers
function as equal collaborators, a single statuette may be awarded to the group. Each composer
must agree to the single “group statuette” option by signing and returning a Group Award form prior to
the submission deadline. Final determination of the awardable composers in the group will be made
by the Music Branch Executive Committee.
G. No more than two statuettes will normally be given in the Original Song category. A third statuette
may be awarded when there are three essentially equal writers of a song. The Music Branch
Executive Committee has the right, in what it alone determines to be a very rare and extraordinary
circumstance, to award a fourth statuette. In cases where an established musical group has authored
a song, a single statuette may be awarded under the group name in place of individual statuettes for
each songwriter. Each of the credited songwriters must agree to the single “group statuette” option
by signing and returning a Group Award form prior to the submission deadline. Requests for a group
statuette are subject to final approval by the Music Branch Executive Committee.
H. In the case of an original musical, the composer or adapter of the instrumental score may qualify for
an award if his or her contribution is deemed relevant and substantial.
I. The Music Branch Executive Committee shall resolve all rules interpretations and all questions of
eligibility.
J. It is within the sole and confidential discretion of the Board of Governors to determine what awards, if
any, shall be given.
III. SUBMISSION
A. For an achievement to be eligible for nomination in any of the Music categories, the submission must
be initiated either personally by the songwriter or composer, or by their authorized representative, or
by an authorized representative of the distributing studio of that film.
B. Submission forms must be signed by all submitting writers and must be accompanied by a complete
final music cue sheet listing all music cues.
C. Original Song submissions must further be accompanied by:
• A vocal lead sheet
• A digital video clip of no more than three minutes of each song, showing how the song is used in
the motion picture
• A completed “Original Song Contribution Sheet,” obtainable from the Academy, summarizing
each submitting writer’s specific contribution to the song, as well as writing percentages. The
Music Branch Executive Committee will review all submission materials when making the
determination of award-eligible songwriters.
D. Original Score submissions must further be accompanied by:
• a completed “Music Breakdown Form” (provided by the Academy) which categorizes the film’s
total minutes of the following:
o Original score (music composed as underscore for this specific film)
o Original songs (songs composed for this specific film)
o Source music (music used to emulate an on-screen or off-screen source, i.e., a radio or
an on-screen performance)
o Licensed and/or pre-existing music used as underscore (i.e., classical music or songs
used as score)
o The above categories must also be represented by their individual percentage of the
film’s total music.
• In cases where other non-submitting composers have contributed original music in the film –
either by shared authorship of cues or by additional cues not shared with the submitting
composer – a letter signed by ALL listed composers explaining the contribution of each must be
submitted to the Music Branch Executive Committee by the submission deadline along with all
other required materials.
E. The composer’s on-screen credit and submission form, as well as the actual cue sheet for the music
as used in the film and supplied by the film company, shall be used by the Music Branch Executive
Committee to help determine the eligibility of the score.
F. Submissions may be made prior to the film’s Los Angeles County qualifying run, but must be made
no later than 60 days after such opening, or by 5 p.m. PT on November 15, 2019, whichever comes
first. New submissions will not be accepted beyond this date, however for existing submissions an
extension to December 1 may be granted at the Academy’s discretion only for the purposes of
delivery of supplemental materials such as video clips or final cue sheets.
G. The Music Branch Executive Committee has the right, but not the obligation, to submit any eligible
works in all three categories, but must do so no later than November 29, 2019.
IV. VOTING
A. Works shall be judged on their effectiveness, craftsmanship, creative substance and relevance to the
dramatic whole, and only as presented within the motion picture. Extended, revised, enhanced or
alternate versions outside of the film shall not be considered.
B. Films eligible for Original Score and film clips of eligible Original Songs shall be viewed by all
members of the Music Branch who will use a preferential voting system to produce a shortlist of 15
titles in each category. Five nominees for Original Song and five nominees for Original Score will
then be chosen by a second round of balloting, again using a preferential voting system.
C. In all three categories, the five achievements receiving the highest number of votes will become the
nominations for final voting for the award.
D. No more than two songs from any one film by the exact same writers may be shortlisted. If more
than two songs from a film by the exact same writers are in contention, the two songs with the most
votes will advance to the shortlist. However, no more than two songs from any one film, regardless of
writers, may be nominated for the Original Song award.
E. If there are 25 or fewer qualified works submitted in any category, the Music Branch Executive
Committee may recommend to the Board of Governors that nominations be limited to three. If there
are nine or fewer qualifying works submitted in any category, the Executive Committee may
recommend to the Board of Governors that no award be given in that category for the current Awards
year.
F. The category of Original Musical may be activated only by special request of the Music Branch
Executive Committee to the Board of Governors in a year when the field of eligible submissions is
determined to be of sufficient quantity and quality to justify award competition.
G. Final voting for each category shall be restricted to active and life Academy members.

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Adam
Jan Borysewicz
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Re: NAGRODY BRANŻOWE

#4130 Post autor: Adam » śr kwie 24, 2019 23:29 pm

John zatem z automatu wypada z możliwości na nominacje za Epizod 9. Deadliny się nie zgadzają i nie beda zgadzać, bo film wychodzi dopiero 35 dni później, wiec wiadomo że nie udostępnia go całej akademii tyle wcześniej bo to by było samobójstwo - screenery zawsze na torrentach lądują od razu, nie mówiąc o wyciekach fabuły i spoilerach.
#FUCKVINYL

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Mystery
James Horner
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Re: NAGRODY BRANŻOWE

#4131 Post autor: Mystery » czw maja 16, 2019 10:52 am

Mystery pisze:
pn kwie 08, 2019 13:29 pm
Nominowani do "ASCAP Composers’ Choice Awards"

2018 ASCAP Film Score of the Year
A Quiet Place - Marco Beltrami
If Beale Street Could Talk - Nicholas Britell
Mandy - Jóhann Jóhannsson
Mary Poppins Returns - Marc Shaiman
Mission: Impossible - Fallout - Lorne Balfe
Solo: A Star Wars Story - John Powell

2018 ASCAP TV Composer of the Year
Nicholas Britell (Succession)
Jeff Cardoni (The Kominsky Method, Silicon Valley, Speechless, Young Sheldon)
John Debney (The Orville)
Bear McCreary (Agents of S.H.I.E.L.D., Outlander, The Walking Dead)
Mateo Messina (Casuals, Sideswiped, Superstore)
Daniel Pemberton (One Strange Rock)
Didier Lean Rachou (Bering Sea Gold, Deadliest Catch, Gold Rush)

2018 ASCAP Video Game Score of the Year
Battletech - Jon Everist
Celeste - Lena Raine
Destiny 2: Forsaken - Skye Lewin, Michael Salvatori
God of War - Bear McCreary
Torn - Garry Schyman

Zwycięzcy będą podani 15 maja podczas "ASCAP Screen Music Awards" w Beverly Hills. "ASCAP Henry Mancini Award" otrzyma w tym roku Giacchino, a "ASCAP Shirley Walker Award" Pinar Toprak. Benj Pasek & Justin Paul (The Greatest Showman, La La Land) otrzymają "ASCAP Vanguard Award", which salutes ASCAP members whose innovative work is helping to shape the future of music.
Zwycięzcy na czerwono. Specjalną nową nagrodą (Harmony Award) nagrodzono również Britella i Gabe Hilfera za współpracę przy "If Beale Street Could Talk". A tu główni bohaterzy wieczoru.
Obrazek

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swordfish
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Re: NAGRODY BRANŻOWE

#4132 Post autor: swordfish » śr maja 22, 2019 05:43 am

W Ostrowie Wielkopolskim w dniach 2-8 czerwca 2019 odbędzie się 8. Festiwal Filmowy im. Krzysztofa Komedy.

W konkursie o główną nagrodę festiwalu wezmą udział oprawy muzyczne z następujących filmów:

"Fuga" – muz. Filip Míšek, reż. Agnieszka Smoczyńska
"Kamerdyner" – muz. Antoni Komasa-Łazarkiewicz, reż. Filip Bajon
"Kler" – muz. Mikołaj Trzaska, reż. Wojciech Smarzowski
"Kobro/Strzemiński. Opowieść fantastyczna" – muz. Marcin Stańczyk, reż. Borys Lankosz
"Krew Boga" – muz. Jerzy Rogiewicz, reż. Bartosz Konopka
"Nina" – muz. Smolik, reż. Olga Chajdas
"Słodki koniec dnia" – muz. Daniel Bloom, reż. Jacek Borcuch

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Mystery
James Horner
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Re: NAGRODY BRANŻOWE

#4133 Post autor: Mystery » wt lip 02, 2019 08:11 am

Nowi członkowie Akademii:

Ludwig Goransson (Creed, Venom)
Michael Abels (Get Out, Us)
Rupert Gregson-Williams (Wonder Woman, Aquaman)
Nathan Barr (The House with a Clock in Its Walls, Hostel)
Kris Bowers (Green Book, Monsters and Men)
Hildur Gudnadottir (Sicario: Day of the Soldado, Mary Magdalene)
Heitor Pereira (Despicable Me, Minions)
Jed Kurzel (Alien Covenant, Macbeth)
John Swihart (Napoleon Dynamite, Table 19)
Anne Nikitin (American Animals, The Imposter)
Jane Antonia Cornish (Fireflies in the Garden, Citizen Jane: Battle for the City)
Annette Focks (Ostwind, Krabat)

Mefisto

Re: NAGRODY BRANŻOWE

#4134 Post autor: Mefisto » ndz lip 21, 2019 14:58 pm

Wrzucę tutaj. Zapraszam do głosowania: https://film.org.pl/plebiscyt/wybieramy ... iu-211379/ 8)

hp_gof

Re: NAGRODY BRANŻOWE

#4135 Post autor: hp_gof » śr sie 07, 2019 20:57 pm

BAFTA ‘Original Music’ Category to Be Renamed ‘Original Score’

The British Academy of Film and Television Arts (BAFTA) has today published the rules and timeline for the EE British Academy Film Awards, following its annual review of all categories. Among the changes, it was announced that the Original Music category will be renamed Original Score, “underlining a focus on composer and score, and acknowledging the integral part they play in contributing to the narrative, atmosphere and emotional landscape of the film”. This rule change would presumably exclude non-score music nominees in the future, such as this year’s winners Bradley Cooper, Lady Gaga & Lukas Nelson who won the award for their music for Cooper’s A Star Is Born.

BAFTA-nominated composer David Arnold said in a statement that “BAFTA is about recognising and rewarding excellence in the craft of film-making with the hope that it will inspire future generations to pursue these skills to the highest standards. I feel these new category changes will go a long way to ensuring the proponents of these skills are effectively identified and justifiably recognised.”
http://filmmusicreporter.com/2019/08/07 ... nal-score/

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Kaonashi
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Re: NAGRODY BRANŻOWE

#4136 Post autor: Kaonashi » śr sie 07, 2019 21:07 pm

Spoiler:
Gdyby nie piraci, byłbym jak Zbigniew Hołdys - Eric Clapton.

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Adam
Jan Borysewicz
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Re: NAGRODY BRANŻOWE

#4137 Post autor: Adam » wt sie 13, 2019 12:14 pm

najbardziej absurdalne nomy do WSA od paru lat:

http://filmmusicreporter.com/2019/08/12 ... announced/
#FUCKVINYL

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Kaonashi
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Re: NAGRODY BRANŻOWE

#4138 Post autor: Kaonashi » wt sie 13, 2019 12:32 pm

W tej Wyższej Szkole Administracji to mają niezłe opóźnienie.
Gdyby nie piraci, byłbym jak Zbigniew Hołdys - Eric Clapton.

hp_gof

Re: NAGRODY BRANŻOWE

#4139 Post autor: hp_gof » sob wrz 07, 2019 20:27 pm

Joker ze Złotym Lwem w Wenecji, Romek z Grand Prix :shock: :shock: :shock:
OMG OMG OMG!

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lis23
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Re: NAGRODY BRANŻOWE

#4140 Post autor: lis23 » sob wrz 07, 2019 22:06 pm

W ogóle mnie ten film nie przekonuje już od momentu, gdy ogłoszono, że powstaje.
Co to jest za moda? "Gotham" bez Batmana, "Venom" bez Pająka, a teraz "Joker" bez Batmana ... J się pytam, skoro to nie ma nic wspólnego z Mrocznym Rycerzem, to DLACZEGO Joker, a nie Stasiek, Irek, Marian, itp.? Wiadomo, jest to zwykłe podpięcie się pod znaną markę, bo inaczej film by nie zarobił i tyle.
Dla mnie, jest to film o zwykłym szaleńcu, jakich pełno w filmach, książkach, serialach, itp.
Tylko On, Williams John ;)
Tylko on, Elton John ;) ;)

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