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  • Originally published on
  • Wednesday, Sep. 16, 2020
Greig Fraser, ASC, ACS in a behind-the-scenes shot on set for “The Mandalorian” (photo courtesy of Disney+)
"The Mandalorian," "Watchmen" Lead The Way On 3rd Night Of Creative Arts Emmys
The Disney+ "Star Wars"-inspired series scores 5 wins; HBO’s lauded show based on DC Comics’ graphic novel garners 4 awards
NOHO ARTS DISTRICT, Calif. --

The third night (9/16) of the Creative Arts Emmys saw The Mandalorian (Disney+) lead the way with five wins, followed closely by Watchmen (HBO), which scored four.

The fab five honors for The Mandalorian came for Outstanding Cinematography for a Single-Camera Series (Half-Hour); Production Design for a Narrative Program (Half-Hour); Special Visual Effects; Sound Editing; and Sound Mixing.

The online ceremony included a virtual acceptance of the Cinematography honor by Mandalorian DPs Greig Fraser, ASC, ACS and Barry “Baz” Idoine. The Mandalorian broke new lensing ground as the cinematographers teamed with Industrial Light & Magic (ILM) to deploy The Volume, a massive LED soundstage. The stage featured a curved video wall consisting of some 1,300 individual LED screens that created a 270-degree semicircular background topped with an LED video ceiling, which was set directly onto the main curve of the LED wall. The remaining 90 degrees of open area contained two flat panels of more LED screens. The panels were rigged so that the walls could be moved into place or out of the way to provide whatever access to the Volume area was needed. The set was filled with LED panels that would render the actual VFX backgrounds in real time. Thus Fraser didn’t have to imagine as he would in using bluescreen what backgrounds would look like. Instead he could see firsthand and light accordingly to get the optimum desired look for actors and physical props. Thus there’s no disparity between the lighting of subjects and the background. Fraser built towards this tech innovation over time, making inroads with ILM on the feature Star Wars: Rogue One into a stage-for-the-future concept that helped lay the groundwork for what came to fruition on The Mandalorian. This took a substantive leap of faith for all involved, Fraser told SHOOT earlier this year in an installment of our Road To Emmy Series of feature stories.

Watchmen’s four Creative Arts Emmys on the night were for Outstanding Cinematography for a Limited Series or Movie; Fantasy/Sci-Fi Costumes; Single-Camera Picture Editing; and Sound Mixing.

The evening’s remaining Cinematography Emmy went to The Ranch (Netflix). The other Picture Editing awards were bestowed upon Succession (HBO) and One Day At A Time (Netflix). And Best Supporting Visual Effects distinction was earned by Vikings (History).

A fourth night of streaming Creative Arts Emmys is slated for tomorrow (9/17). Capping the Creative Arts proceedings will be a televised Saturday (9/19) awards ceremony on FXX. The primetime Emmy Awards will be televised Sunday (9/20) on ABC, hosted by Jimmy Kimmel. Hosting all five Creative Arts Emmy ceremonies is comedian, actress and author Nicole Byer, also known as the host of Nailed It!, which is Netflix’s hit reality competition baking series.

Here’s a full rundown of Creative Arts Emmy Award winners on night 3:

OUTSTANDING CINEMATOGRAPHY FOR A LIMITED SERIES OR MOVIE
Watchmen • This Extraordinary Being • HBO • HBO Entertainment in association with White Rabbit, Paramount Television, Warner Bros. Television & DC Comics
Gregory Middleton, ASC, CSC, Director of Photography

OUTSTANDING CINEMATOGRAPHY FOR A MULTI-CAMERA SERIES
The Ranch • It Ain’t My Falt • Netflix • Netflix
Donald A. Morgan, ASC, Director of Photography

OUTSTANDING CINEMATOGRAPHY FOR A SINGLE-CAMERA SERIES (HALF-HOUR)
The Mandalorian • Chapter 7: The Reckoning • Disney+ • Lucasfilm Ltd.
Greig Fraser, ASC, ACS, Director of Photography
Baz Idoine, Director of Photography

OUTSTANDING CONTEMPORARY HAIRSTYLING
black-ish • Hair Day • ABC • ABC Studios
Araxi Lindsey, Department Head Hairstylist
Robert C. Mathews lll, Additional Hairstylist
Enoch Williams, Key Hairstylist

OUTSTANDING FANTASY/SCI-FI COSTUMES
Watchmen • It’s Summer And We’re Running Out Of Ice • HBO • HBO Entertainment in association with White Rabbit, Paramount Television, Warner Bros. Television & DC Comics
Sharen Davis, Costume Designer
Valerie Zielonka, Costume Supervisor

OUTSTANDING MULTI-CAMERA PICTURE EDITING FOR A COMEDY SERIES
One Day At A Time • Boundaries • Pop TV • Sony Pictures Television, Act III Productions, Glo Nation, Snowpants Productions
Cheryl Campsmith, ACE, Editor

OUTSTANDING SINGLE-CAMERA PICTURE EDITING FOR A DRAMA SERIES
Succession • This Is Not For Tears • HBO • HBO Entertainment in association with Project Zeus, Hyperobject Industries and Gary Sanchez Productions
Bill Henry, Editor
Venya Bruk, Additional Editor

OUTSTANDING SINGLE-CAMERA PICTURE EDITING FOR A LIMITED SERIES OR MOVIE
Watchmen • A God Walks In To Abar • HBO • HBO Entertainment in association with White Rabbit, Paramount Television, Warner Bros. Television & DC Comics
Henk Van Eeghen, ACE, Editor

OUTSTANDING PERIOD COSTUMES
The Crown • Cri De Coeur • Netflix • Left Bank Pictures in association with Sony Pictures Television
Amy Roberts, Costume Designer
Sidonie Roberts, Assistant Costume Designer
Sarah Moore, Costume Supervisor

OUTSTANDING PERIOD MAKEUP AND/OR CHARACTER MAKEUP (NON-PROSTHETIC)
The Marvelous Mrs. Maisel • It’s Comedy Or Cabbage • Prime Video • Amazon Studios
Patricia Regan, Department Head Makeup Artist
Claus Lulla, Key Makeup Artist
Joseph A. Campayno, Key Makeup Artist
Margot Boccia, Makeup Artist
Michael Laudati, Makeup Artist
Tomasina Smith, Makeup Artist
Roberto Baez, Makeup Artist
Alberto Machuca, Makeup Artist

OUTSTANDING PRODUCTION DESIGN FOR A NARRATIVE CONTEMPORARY PROGRAM (ONE HOUR OR MORE)
The Handmaid’s Tale • Household • Hulu • MGM, Daniel Wilson Productions, The Littlefield Company, White Oak Pictures
Elisabeth Williams, Production Designer
Martha Sparrow, Art Director
Robert Hepburn, Set Decorator

OUTSTANDING PRODUCTION DESIGN FOR A NARRATIVE PROGRAM (HALF-HOUR)
The Mandalorian • Chapter 1: The Mandalorian • Disney+ • Lucasfilm Ltd.
Andrew L. Jones, Production Designer
Jeff Wisniewski, Art Director
Amanda Serino, Set Decorator

OUTSTANDING PROSTHETIC MAKEUP FOR A SERIES, LIMITED SERIES, MOVIE OR SPECIAL
Star Trek: Picard • Absolute Candor • CBS All Access • CBS Television Studios in association with Secret Hideout and Roddenberry Entertainment
James Robert Mackinnon, Special Makeup Effects Department Head
Vincent Van Dyke, Prosthetic Designer
Richard Redlefsen, Special Makeup Effects Artist
Alexei Dmit riew, Special Makeup Effects Artist
Neville Page, Prosthetic Designer
Michael Ornelaz, Makeup Effects Artist

OUTSTANDING SOUND EDITING FOR A COMEDY OR DRAMA SERIES (ONE HOUR)
Stranger Things • Chapter Eight: The Battle Of Starcourt • Netflix • Netflix
Craig Henighan, Co-Supervising Sound Editor William Files, Co-Supervising Sound Editor
Ryan Cole, Sound Editor
Kerry Dean Williams, Sound Editor
Angelo Palazzo, Sound Editor
Katie Halliday, Sound Editor
David Klotz, Music Editor
Steve Baine, Foley Artist

OUTSTANDING SOUND EDITING FOR A COMEDY OR DRAMA SERIES (HALF-HOUR) AND ANIMATION
The Mandalorian • Chapter 1: The Mandalorian • Disney+ • Lucasfilm Ltd.
David Acord, Co-Supervising Sound Editor/Sound Designer
Matthew Wood, Co-Supervising Sound Editor
Bonnie Wild, Sound Effects Editor
James Spencer, Dialogue Editor
Richard Quinn, ADR Editor
Richard Gould, Foley Editor
Stephanie McNally, Music Editor
Ryan Rubin, Music Editor
Ronni Brown, Foley Artist
Jana Vance, Foley Artist

OUTSTANDING SOUND MIXING FOR A COMEDY OR DRAMA SERIES (HALF-HOUR) AND ANIMATION
The Mandalorian • Chapter 2: The Child” • Disney+ • Lucasfilm Ltd.
Shawn Holden, production mixer
Bonnie Wild, re-recording mixer
Chris Fogel, scoring mixer

OUTSTANDING SOUND MIXING FOR A LIMITED SERIES OR MOVIE
Watchmen • This Extraordinary Being • HBO • HBO Entertainment in association with White Rabbit, Paramount Television, Warner Bros. Television & DC Comics
Douglas Axtell, Production Mixer
Joe DeAngelis, Re-Recording Mixer
Chris Carpenter, Re-Recording Mixer

OUTSTANDING SPECIAL VISUAL EFFECTS
The Mandalorian • Chapter 2: The Child • Disney+ • Lucasfilm Ltd.
Richard Bluff, VFX Supervisor
Jason Porter, VFX Supervisor
Abbigail Keller, VFX Producer
Hayden Jones, VFX Supervisor
Hal Hickel, Animation Supervisor
Roy Cancino, Special Effects Supervisor
John Rosengrant, Supervisor
Enrico Damm, Environment Supervisor
Landis Fields, Virtual Production Visualization Supervisor

OUTSTANDING SPECIAL VISUAL EFFECTS IN A SUPPORTING ROLE
Vikings • The Best Laid Plans • HISTORY • An Octagon and Take 5 production in association with Metro-Goldwyn-Mayer
Dominic Remane, Visual Effects Supervisor
Bill Halliday, Visual Effects Producer
Becca Donohue, Visual Effects Producer
Leann Harvey, On-Set Visual Effects Supervisor
Tom Morrison, CG Supervisor
Ovidiu Cinazan, Lead Compositor
Jim Maxwell, Lead Matte Painter
Ezra Wadell, Lead Massive Crowd Artist
Warren Lawtey, FX Lead

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