Some strides were taken at this year's show, but it still goes without saying even organizations like the AMPAS need a lesson or two in conveying the right appreciation for a group of people that makes up probably 75% of their membership. Folks like art director Lorin Flemming ("Running with Scissors"), who found herself perplexed even at the way the Academy goes about it's awards dishing.

"I do think that it is strange that the award for best Art Direction is awarded to the Production Designer and the Set Decorator," she told me some months back. "I could understand if it was just the Production Designer, who is ultimately responsible for the visual direction of the project. But if you include the Set Decorator then it seems to me an important member of the art department leadership team is left out."

Given the way many awards-giving bodies handle the technical branches, you'd think their work might even go unappreciated by fellow industry workers. But Flemming disagreed somewhat, saying "We are often congratulated and thanked, but when it comes down to it, I do think that often our co-workers and collaborators in other departments have no idea how much work goes into what they are asking us to do or what they see when they arrive on set. It just kind of magically appears."

Even still, she isn't so naive as to think others don't share her plight.

"I think most other departments would say the same thing about their own work," she mentioned. "I guess after all, it is our job to make it seem that easy."

But it isn't. And that is pretty much the essence of what we sought to convey with "Tech Support."

While Jack Nicholson's maniacal mug on a TV spot might sell tickets to "The Departed," that mug wouldn't be there if it weren't for folks like cinematographer Michael Ballhaus. The title set of "Pan's Labyrinth" couldn't have been brought to life without the efforts of production designer Eugenio Caballero and his art department. And though the now iconic image of Davy Jones in "Pirates of the Caribbean: Dead Man's Chest" looks great on a poster, it takes visual effects artists such as John Knoll, Hal T. Hickel, Charles Gibson and Allen Hall to bring that character to life on the screen and fulfill the promise hanging on the wall in the theater lobby.

So yes, I am very proud of our work here this year in getting these artists some much needed attention. I can only hope they feel they have been rightfully represented by myself and Mr. Kennedy, and indeed, I very much look forward to providing one of, if not the only outlet for their efforts' consideration in the world of film awards coverage. God willing, In Contention will not remain alone in that quest for long.

Below you'll find Mr. Kennedy's final column of the season, and I once again extend my greatest thanks for his contribution, a vital part of InContention.com. Thank you for reading, and please enjoy his final ponderings:

What can I add at this stage? The race is over. Allow me a few thoughts before signing off for the year.

Without any doubt, one of the biggest stories of Oscar night was the love for “Pan’s Labyrinth.” The only film to take home multiple crafts awards, it garnered three. Best Art Direction was claimed by Eugenio Caballero for his memorable and haunting sets, with John Myrhe unable to win his third statue in five years for “Dreamgirls.”