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American Cinema Editors Eddie Awards (March 3)

There are some longtime director-editor partnerships represented in this year’s Eddie nominees. Notably, Thelma Schoonmaker is nominated for Martin Scorsese’s Killers of the Flower Moon (Apple TV+), the latest film in their decades-long collaboration. She edited his feature debut, 1967’s Who’s That Knocking at My Door, and has been his regular editor dating back to 1980’s Raging Bull. Kevin Tent, nominated for The Holdovers (Focus Features, pictured), has edited all of Alexander Payne’s movies, starting with 1996’s Citizen Ruth.

American Society of Cinematographers Awards (March 3)

The ASC-nominated cinematography in Yorgos Lanthimos’ Poor Things (Searchlight) took inspiration from Francis Ford Coppola’s 1992 film Bram Stoker’s Dracula. Saying that Poor Things is “very obviously artificial in many aspects,” DP Robbie Ryan explains, “[Dracula] leaned heavily on early cinema techniques like miniatures, processed backgrounds, false perspective and speeding up the camera, and loads of crazy lighting effects. Bram Stoker’s Dracula really enjoyed that madness. We leaned toward how evocative that was.”

Art Directors Guild Awards (Feb. 10)

The fantastical look of Barbie Land helped propel the Greta Gerwig-helmed and Margot Robbie-led Barbie (Warner Bros.) to its ADG nom. Barbie Land was built to scale at the Warner Bros. studio in the U.K. “You start with the Dreamhouses, and then everything beyond that goes two-dimensional,” explains production designer Sarah Greenwood. “The palm trees in the background are flat, and then the mountains are smaller, though still 20 or 30 feet high, and then we have a painted sky — which was in fact 800 feet long and 50 feet high.”

Cinema Audio Society Awards (March 2)

Bradley Cooper’s Maestro (Netflix) — in which the co-writer and director stars as famed composer and conductor Leonard Bernstein — involved the recording of Gustav Mahler’s Symphony No. 2 in C minor live during filming at Ely Cathedral in England with the London Symphony Orchestra and London Symphony Choir. This required more than 100 musicians and 150 choir singers, while 62 mics were used to capture the performance for the film’s Dolby Atmos mix.

Make-Up Artists & Hair Stylists Guild Awards (Feb. 18)

In the feature categories at the MUAHS Awards, Disney/Marvel’s superhero ensemble epic Guardians of the Galaxy Vol. 3 leads the competition with four nominations, including special makeup effects. “There are more practical applications in this movie than any movie in the history of cinema,” notes director James Gunn. (According to the studio, Guardians 3 broke the world record for the most makeup appliances, i.e. artificial pieces, created for a single production.)

Motion Picture Sound Editors Golden Reel Awards (March 3)

Michael Mann’s Ferrari (Neon) — which stars Adam Driver as Enzo Ferrari as he prepares his racing team for the 1957 Mille Miglia amid a tumultuous time in his marriage — is MPSE-nominated for effects/Foley editing. Supervising sound editor and rerecording mixer Tony Lamberti found a 1957 Maserati 250 F1 and 1953 Ferrari 250 Mille Miglia PF V12 owned by Pink Floyd drummer Nick Mason and a 1955 Lancia Ferrari D50A owned by billionaire Anthony Bamford to record authentic sounds for the racing scenes.

Society of Composers & Lyricists Awards (Feb. 13)

The Society of Composers & Lyricists will recognize director Martin Scorsese and the late Robbie Robertson with the Spirit of Collaboration Award. Since Scorsese’s The Last Waltz, which depicted Robertson and fellow members of The Band’s final concert performance in 1976, the pair have teamed on films including Shutter Island, The Wolf of Wall Street, The Irishman and Killers of the Flower Moon, for which Roberson is additionally nominated for the society’s award in the category of outstanding original score in a studio film.

Visual Effects Society Awards (Feb. 21)

Gareth Edwards’ The Creator (Searchlight) — about a war between humans and AI — leads the feature competition with seven noms. Edwards explains that VFX house Industrial Light & Magic tracked the human body without the use of motion-capture markers; thus, many of the performers didn’t know if they were playing a human or an AI character. “I stopped telling people because I wanted the robots to be very naturalistic and human in their behavior,” he admits. “We actually chose who was AI about halfway through the edit.”