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The 2019 Technical Oscar Categories: Who Won?

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Alfonso Cuaron poses with the awards for best director for “Roma”, best foreign language film for “Roma”, and best cinematography for “Roma” in the press room at the Oscars on Sunday, Feb. 24, 2019, at the Dolby Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)Jordan Strauss/Invision/AP

The 2019 Academy Awards have come and gone, but while Green Book has been honored with the top Best Picture award a number of beloved films have also been honored with a variety of the technical Academy Awards. These awards (for achievements in cinematography, costume design, film editing, production design, sound editing, sound mixing, visual effects, and makeup and hairstyling) honor the below-the-line talent that makes quality filmmaking possible. Here’s a rundown of the winners for these important categories.
Cinematography – Alfonso Cuarón for Roma
In a year full of top-tier innovative competition, Alfonso Cuarón took home the Oscar for achievements in cinematography for his gorgeous black and white cinematography, long takes, and fantastic framing and movement. Also winning Best Director, Cuarón had fierce and talented competition from Cold War, The Favourite, Never Look Away, and A Star is Born.
Cuarón’s speech:
” Thank you so much. This is an amazing honor. Thank you, Academy. To create a single frame of film, as you well know, requires the work of a lot of people, very hard work. So I want to thank Yalitza Aparicio and Marina de Tavira before anybody else. The amazing cast and crew, Gabriela Rodríguez and Nicolás Celis as producers, Participant and Netflix, Technicolor and Arri.

If this film was created by my own memories, the film was crafted through the memories of what this great master of cinematography has given to us. It is well-known that in Billy Wilder’s office there was a sign that said “What would Lubitsch have done?” And for me, it was what would “Chivo Lubezki would have done?” So this is for you, too, Chivo. And thank you very much, Mexico. My family and Jonás, Bu y Olmo. Love you guys.”
Costume Design – Ruth E. Carter for Black Panther
Ruth E. Carter’s elaborate costume designs for Black Panther helped build a comprehensive world that truly felt lived-in with a long, rich history. Also competing for the trophy were The Favourite, The Ballad of Buster Scruggs, Mary Poppins Returns, and Mary Queen of Scots. Carter’s speech follows:

“Wow, wow, I got it. Wow, this has been a long time coming. Spike Lee, thank you for my start. I hope this makes you proud. Marvel may have created the first black superhero but through costume design, we turned him into an African king. It’s been my life’s honor to create costumes. Thank you to the Academy. Thank you for honoring African royalty and the empowered way women can look and lead onscreen.
Thank you to my crews around the world who helped bring Wakanda to life. Our genius director, Ryan Coogler, you are a guiding force. Thank you for your trust and understanding my role in telling the African-American story. Adding vibranium to costumes is very expensive so thank you Victoria Alonso, Kevin Feige, Louis D’Esposito, Jeffrey Chernov, Bob Iger and Nate Moore. My career is built with passion to tell stories that allow us to know ourselves better. This is for my 97-year-old mother watching in Massachusetts. Mom, thank you for teaching me about people and their stories. You are the original superhero. Thank you.”
Film Editing – John Ottman for Bohemian Rhapsody
Bohemian Rhapsody took home the Academy Award for best film editing over BlacKkKlansman, The Favourite, Green Book, and Vice. Ottman thanked the Academy:
“He [Michael Keaton, the presenter] just asked me if I would like this [the envelope] and I said “sure, my mom would like it,” who’s here, over there. She’s 85 years old. Wow, you get up here and you completely blank. This film, I always like to say, as the entire cast and crew likes to always say, was a labor of love. And I think Freddie Mercury in a way kind of brought us all together from wherever he is and just like he did his audience. I just am so thankful for everyone bonding together and supporting each other and trusting me. I mean, there’s too many people to thank, of course. I’m looking at Rami, looking at me, “better thank me.” Got the band over here, thank you so much Brian May and Roger Taylor. And I have to mention, of course, Graham King and Denis O’Sullivan, two of the hardest-working and committed producers I’ve ever worked with in my life.
And lastly, this goes to my parents on their fireplace mantel because they encouraged me to do whatever I wanted to do when I was a kid, whether it was writing music, which was a mystery to them, or making films in their garage on Normington Way in San Jose, California. So as Freddie’s father would say: “Good thoughts, good words, good deeds.” Thank you.”
Production Design – Hannah Beachler (production design) and Jay Hart (set design) for Black Panther
The production design in Black Panther was a masterclass in worldbuilding, making Wakanda feel as real as it was larger than life. The team took home the Oscar, eliminating competition from The Favourite, First Man, Marry Poppins Returns, and Roma.
Beachler thanked the Academy:
“New Orleans, you hear me? Okay, I gotta put these on and I don’t even know where I put my speech because I put it in the phone and now I can’t find it. I’m really shaking hard. Okay. I love you. I want to thank all of the nominees in this category for the extraordinary worlds that they built this year. So honored to be a part of that. I want to thank the Academy, thank you so much. Ryan Coogler. I stand here stronger than I was yesterday. I stand here with agency and self-worth because of Ryan Coogler. You not only made me a better designer, a better storyteller, a better person, I stand here because of this man who offered me a different perspective of life, who offered me a safe space, who’s patient and gave me air, humanity and brotherhood. Thank you, Ryan. I love you. I am stronger because Marvel(?), who gave me the opportunity to do my best, who supported the vision of this film, and lifted us up every day. Victoria Alonso, Kevin Feige, Louis D’Esposito, and the man with the best laugh ever, Nate Moore. Thank you. And it was brought stronger because of an art department crew who lead with their hearts and brought their experiences, talent, courage, humility, and hard work to the table. Supervising art director Alan Hook and set decorator Jay Hart, thank you. I’m stronger today because of this wonderful cast who every day stepped into this world and breathed life into it. Because of Ruth Carter and Rachel Morrison and everything they did behind the camera with me. I am stronger because of a woman who supported me every day, that I wanted to give up, this is for you, my friend, Carol Trevino. Rest in power. I’m stronger because of my family who supported me through the [unintelligible] of time. I give this strength to all of those who come next, to keep going, to never give up. And when you think it’s impossible, just remember to say this piece of advice I got from a very wise woman: I did my best, and my best is good enough. Thank you.”
Sound Editing – John Warhurst and Nina Hartstone for Bohemian Rhapsody
As would befit a film about the legendary band Queen and their lead singer, the iconic Freddie Mercury, Bohemian Rhapsody had world-class sound editing, ultimately beating competition from Black Panther, First Man, A Quiet Place, and Roma.
Sound Mixing – Tim Cavagin and John Casali for Bohemian Rhapsody
Bohemian Rhapsody was also recognized for its rich sound mixing, having competed against Black Panther, First Man, Roma, and A Star is Born. The team expressed their gratitude:
“PAUL MASSEY:
Thank you, Academy. Huge honor. I’d like to thank our producers, Graham King, Denis O’Sullivan, Ted Gagliano from Fox, and our whole sound crew, thank you. A massive shout-out to Brian May and Roger Taylor. Thank you so much for your music and for your collaboration and your support. And I would like to dedicate this to my kids: Sean, Andrew, Sophie, Taylor. I love you all. Thank you.
JOHN CASALI:
I want to thank my wife and my kids: Olivia, Joe, Stephen and Gemma. All of my team, and for this, really, for Chris Murphy, my boom operator, that’s put up with me for 14 years. Thanks, mate. Thank you.
TIM CAVAGIN:
I’d like to thank team Twickenham, our circuit [?], everyone else who worked on the sound of this incredible movie, to my mum and dad, my amazing brothers and to my friends back in Oldham [?] watching tonight.”
Visual Effects – Paul Lambert, Ian Hunter, Tristan Myles, and J. D. Schwalm for First Man
The Academy Award for best visual effects went to the team from First Man over a tough field of competition from Avengers: Infinity War, Christopher Robin, Ready Player One, and Solo: A Star Wars Story.
Makeup and Hairstyling – Greg Cannom, Kate Biscoe, and Patricia Dehaney for Vice
In a narrow but talented field, the team from Vice took home the Oscar over Border and Mary Queen of Scots.
 

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