Search Results - Academy Awards Search | Academy of Motion Picture Arts & Sciences

The Avid Film Composer is a digital, non-linear, 24 frame-per-second editing machine usinig compression algorithms, that has revolutionized the art of film editing. Shots can be stored, recalled, manipulated and played back instantaneously, allowing the film editor unprecedented creative freedom and the ability to realize a film more fully than before.

[Editorial and Pre-production]

SCIENTIFIC AND TECHNICAL AWARD (Scientific and Engineering Award)

To DR. THOMAS G. STOCKHAM, JR. and ROBERT B. INGEBRETSEN for their pioneering work in the areas of waveform editing, crossfades and cut-and-paste techniques for digital audio editing.

The foundation of current digital audio editing equipment for motion pictures has its roots in the late seventies work of these digital pioneers.

[Sound]

To JAMES A. MOORER for his pioneering work in the design of digital signal processing and its application to audio editing for film.

This early work in systems architecture and software has had a significant impact on the digital creation of sound effects and the editing of audio for motion picture sound tracks.

[Sound]

To STEPHEN J. KAY of K-Tec Corporation for the design and development of the Shock Block.

This specially designed ground fault interrupter eliminates the electric shock hazard when working in water, wet conditions or from an accidentally exposed power line.

[Lighting]

To GARY TREGASKIS for the primary design; and to DOMINIQUE BOISVERT, PHILIPPE PANZINI and ANDRÉ LeBLANC for the development and implementation of the Flame and Inferno software.

The Inferno System, and its predecessor, Flame, provide high-speed, efficient integrated digital compositing and visual effects tools.

[Special Photographic]

To ROBERT PREDOVICH, JOHN SCOTT, MOHAMED KEN T. HUSAIN and CAMERON SHEARER for the design and implementation of the Soundmaster Integrated Operations Nucleus operating environment.

The Soundmaster system provides motion picture audio post production facilities with a completely integrated capability for synchronization of audio and picture elements with the numerous methods of synchronization in use today.

[Sound]

To ROY B. FERENCE, STEVEN R. SCHMIDT, RICHARD J. FEDERICO, ROCKWELL YARID and MICHAEL E. McCRACKAN for the design and development of the Kodak Lightning Laser Recorder.

The Kodak Lightning laser recorder system established higher operational and quality standards and achieved wide industry acceptance for digital film recording onto intermediate film stock.

[Special Photographic]

To COLIN MOSSMAN, HANS LEISINGER and GEORGE JOHN ROWLAND of Deluxe Laboratories for the concept and design of the Deluxe High Speed Spray Film Cleaner.

This innovative and effective high speed film cleaning machine is unique in its use of spray technology, providing the flexibility to use alternative solvents, and to anticipate changes in environmental legislation.

[Laboratory]

To ARNOLD & RICHTER CINE TECHNIK, and ARRI USA, INC. for the concept and engineering of the Arriflex 435 Camera System.

The 435 enhances the creative process via its programmability and reliability, and provides the camera operator with the widest feature and performance capability of any MOS camera in use today.

[Camera]

To ARNOLD & RICHTER CINE TECHNIK and the CARL ZEISS COMPANY for the concept and optical design of the Carl Zeiss/Arriflex Variable Prime Lenses.

This series of variable prine lenses opens many creative possibilities, since any focal length can be continuously selected throughout the entire range. They offer sharp, high-contrast, high-resolution images with minimized vignetting, superior to many prime lenses.

[Lenses and Filters]

To DEREK C. LIGHTBODY of OpTex for the design and development of Aurasoft Luminaires.

The Aurasoft offers a radical new type of reflector design for the production of soft, very even and relatively shadowless light, with superior coverage and significantly higher intensity than existing softlights.

[Lighting]

To MARK ROBERTS, RONAN CARROLL, ASSAFF RAWNER, PAUL BARTLETT and SIMON WAKLEY for the creation of the Milo Motion-Control Crane.

This radically original and effective solution to the problems of high-speed camera motion was achieved with the combination of novel geometry and dedicated 3-dimensional control software.

[Camera Cranes]

To MICHAEL SORENSEN and RICHARD ALEXANDER of Sorensen Designs International, and DONALD TRUMBULL for advancing the state-of-the-art of real-time motion-control, as exemplified in the Gazelle and Zebra camera dolly systems.

Over the past decade, Sorensen, Alexander and Trumbull have improved the speed, repeatability and portability of robotic camera platforms through novel engineering concepts and the pioneering use of composite materials.

[Camera Cranes]

To RONALD E. UHLIG, THOMAS F. POWERS and FRED M. FUSS of the Eastman Kodak Company for the design and development of KeyKode latent-image barcode key numbers.

KeyKode numbers are machine-readable bar codes on camera negative films that exactly replicate the human-readable key numbers. Together with an appropriate reader and database software, they reduce errors and speed important post-production operations, leading to significant cost savings.

[Laboratory]

To IAIN NEIL for the optical design; TAKUO MIYAGISHIMA for the mechanical design; and PANAVISION, INCORPORATED, for the concept and development of the Primo Series of spherical prime lenses for 35mm cinematography.

The Primo Series of lenses for 35mm cinematography represents a thorough and comprehensive approach to prime lens design, development and manufacture. This family of lenses has a wide range of focal lengths, all color matched, with improved modulation transfer function characteristics.

[Lenses and Filters]

SCIENTIFIC AND TECHNICAL AWARD (Technical Achievement Award)

To GARRETT BROWN and JERRY HOLWAY for the creation of the Skyman flying platform for Steadicam operators.

This cable-driven, manned camera platform allows the operator to spin 360 degrees for unimpeded pans while controlling the downhill speed via brakes. As a device for achieving otherwise impossible shots, Skyman has had a definite influence on later cable-suspended camera systems.

[Camera Cranes]

To JAMES RODNUNSKY, JAMES WEBBER and BOB WEBBER of Cablecam Systems, and TROU BAYLISS for the design and engineering of Cablecam.

This radio-controlled, cable-driven camera platform with its ultra-smooth synthetic cables and powerful hydraulic motors, enables runs in excess of 3000 feet with quick return to start. Operating unmanned, it can function at speeds and through perils that would be unsafe for on-board operators.

[Camera Cranes]

To DAVID DiFRANCESCO, BALA S. MANIAN and THOMAS L. NOGGLE for their pioneering efforts in the development of laser film recording technology.

This pioneering laser film recorder, designed and used for motion pictures, demonstrated the potential of this technology for recording digital data onto intermediate film stock.

[Special Photographic]

To MICHAEL MacKENZIE, MIKE BOLLES, UDO PAMPEL and JOSEPH FULMER of Industrial Light & Magic for their pioneering work in motion-controlled, silent camera dollies.

This silent, high-speed motion control modification of a Panther dolly makes it possible to film moving camera composite shots of actors while recording live dialogue.

[Camera Cranes]

To BARRY WALTON, BILL SCHULTZ, CHRIS BARKER and DAVID CORNELIUS of Sony Pictures Imageworks for the creation of an advanced motion-controlled, silent camera dolly.

This extensive modification to the Panther dolly allows high-speed moves to be silent, smooth and stable.

[Camera Cranes]

To BRUCE WILTON and CARLOS ICINKOFF of Mechanical Concepts for their modular system of motion-control rotators and movers for use in motion-control.

These components have become the de facto industry standard for use in precision motion control equipment.

[Camera Cranes]

To REMY SMITH for the software and electronic design and development; and JAMES K. BRANCH and NASIR J. ZAIDI for the design and development of the Spectra Professional IV-A digital exposure meter.

The design and execution of the Spectra Professional IV-A meter has resulted in a practical and successful tool for the film production community.

[Photography]

To IVAN KRUGLAK for his commitment to the development of a wireless transmission system for video-assisted images for the motion picture industry.

Through years of persistent effort, Mr. Kruglak has commercialized and popularized a technique of great utility for motion picture camera operations. By introducing diversity antennas and a time code insertion accessory, he has optimized camera wireless video-assist components.

[Camera]

To DR. DOUGLAS R. ROBLE for his contribution to tracking technology and for the design and implementation of the TRACK system for camera position calculation and scene reconstruction.

The TRACK system is an integrated software tool that uses computer-vision techniques to extract critical 2D and 3D information about a scene and the camera used to film it.

[Special Photographic]

To THADDEUS BEIER for the design and implementation of ras_track, a system for 2D tracking, stabilization, and 3D camera and object tracking.

Ras_track allows the user to determine the postiton and location of the camera and objects in a scene by tracking points in a scanned sequence.

[Special Photographic]

To MANFRED N. KLEMME and DONALD E. WETZEL for the design and development of the K-Tek Microphone Boom Pole and accessories for on-set motion picture sound recording.

The K-TEK series microphone boom pole provides production recording personnel with a self-lubricated, light-weight, sturdy pole with multiple accessories.

[Sound]

To NICK FOSTER for his software development in the field of water simulation systems.

This software technique provides an efficient and flexible method for the creation of flowing streams, oceans, tidal waves and turbulence for motion picture visual effects.

[Special Photographic]

To CARY PHILLIPS for the design and development of the "Caricature" Animation System at Industrial Light & Magic.

By integrating existing tools into a powerful interactive system, and adding an expressive multi-target shape interpolation-based freeform animation system, the "Caricature" system provides a degree of subtlety and refinement not possible with other systems.

[Special Photographic]

To DR. MITCHELL J. BOGDANOWICZ of the Eastman Kodak Company, and JIM MEYER and STAN MILLER of Rosco Laboratories, Inc. for the design of the CalColor Calibrated Color Effects Filters.

Designed to correspond to the spectral sensitivity of color negative film stocks, these filters provide for improved color control in motion picture lighting.

[Lenses and Filters]

To DR. A. TULSI RAM, RICHARD C. SEHLIN, DR. CARL F. HOLTZ and DAVID F. KOPPERL of the Eastman Kodak Company for the research and development of the concept of molecular sieves applied to improve the archival properties of processed photographic film.

The use of zeolite crystals as molecular sieves to absorb moisture, acetic acid, methylene chloride and a variety of solvents created an effective deterrent to the effects of vinegar syndrome in stored film stock.

[Laboratory]

To TAKUO MIYAGISHIMA and ALBERT K. SAIKI of Panavision, Inc. for the design and development of the Eyepiece Leveler.

This leveler keeps the camera eyepiece at the same level, regardless of whether the camera position is tilted up or down, enabling the camera operator to concentrate on the composition of the image.

[Camera]

To EDMUND M. DI GIULIO and JAMES BARTELL of Cinema Products for the design of the KeyKode Sync Reader.

The KeyKode Sync Reader provides a fast, accurate and user-friendly means of utilizing the KeyKode information on film, thereby expediting the editorial and post-production processes.

[Laboratory]

To IVAN KRUGLAK for his pioneering concept and the development of the Coherent Time Code Slate.

Time code slates have had significant impact on the filmmaking process by simplifying post-production. This development makes the synchronization process faster and more precise, particularly when multiple cameras are used.

[Editorial and Pre-production]

To MIKE DENECKE for refining and further developing electronic time code slates.

Due to their features and simplified operational procedures, the Denecke slates have had significant impact on the motion picture industry and have become the standard for electronic time code slates.

[Editorial and Pre-production]

To ED ZWANEVELD and FREDERICK GASOI of the National Film Board of Canada, and MIKE LAZARIDIS and DALE BRUBACHER-CRESSMAN of Research in Motion for the design and development of the DigiSync Film KeyKode Reader.

The DigiSync Film KeyKode Reader provides a fast, accurate and user-friendly means of utilizing the KeyKode information on film, expediting the editorial and post-production processes.

[Laboratory]

JOHN A. BONNER MEDAL OF COMMENDATION

To David W. Gray in appreciation for outstanding service and dedication in upholding the high standards of the Academy of Motion Picture Arts and Sciences.

1999 (72nd)

GORDON E. SAWYER AWARD

Roderick T. Ryan

SCIENTIFIC AND TECHNICAL AWARD (Scientific and Engineering Award)

To NICK PHILLIPS for the design and development of the three-axis Libra III remote control camera head.

The Libra III head can accept a range of film cameras and their lenses and allows the operator to add stabilization to each axis for medium focal length lenses. Motion capture and playback are also selectable features.

[Stage Operations]

To FRITZ GABRIEL BAUER for the concept, design and engineering of the Moviecam Superlight 35mm Motion Picture Camera.

The quiet Moviecam Superlight is an extremely small and light 35mm professional motion picture sound camera which allows the cinematographer to film in ways and situations that were never before possible.

[Camera]

To IAIN NEIL for the optical design, RICK GELBARD for the mechanical design, and PANAVISION, INC. for the development of the Millennium Camera System viewfinder.

This unique and versatile viewfinder with two independent viewing positions provides a very high-resolution video assist image, greatly enhancing its application for on-set compositing or non-linear editing.

[Camera]

To HUW GWILYM, KARL LYNCH and MARK V. CRABTREE for the design and development of the AMS Neve Logic Digital Film Console for motion picture sound mixing.

This console allows the user multi-position mixing capabilities, stem routing predub inputs and other filmcentric attributes. This is the first fully digital audio mixing console specifically designed for post-production film mixing.

[Sound]

To JAMES MOULTRIE for the mechanical design, and to MIKE SALTER and MARK CRAIG GERCHMAN for the optical design of the Cooke S4 Range of Fixed Focal Length Lenses for 35mm motion picture photography.

These state-of-the-art fixed focal length 35mm lenses are the result of intense efforts to meet industry requirements in several areas. Providing superior performance in several cinematographic aspects, these lenses include a unique linear focus system.

[Lenses and Filters]

To MARLOWE A. PICHEL for development of the process for manufacturing Electro-formed Metal Reflectors which, when combined with the DC Short Arc Xenon Lamp, became the worldwide standard for motion picture projection systems.

The impact of the Electro-formed Metal Reflector over the decades has completely changed the presentation side of the motion picture industry allowing the replacement of the carbon arc light source and the implementation of automated projection systems.

[Projection]

To L. RON SCHMIDT for the concept, design and engineering of the Linear Loop Film Projectors.

These radically new motion picture film projectors provide superior print handling, image steadiness, screen illumination and enhanced viewer experience by means of an extremely simple air-driven mechanical transport system.

[Projection]

To NAT TIFFEN of Tiffen Manufacturing Corporation for the production of high-quality, durable, laminated color filters for motion picture photography.

Materials of uniform color characteristics are implanted between layers of optical glass and bonded together under extremes of heat and pressure. The outer surfaces are ground and polished to specified close tolerances, free of distortion and resistant to changes in temperature or humidity, then bound with a protective metal ring.

[Lenses and Filters]

SCIENTIFIC AND TECHNICAL AWARD (Technical Achievement Award)

To VIVIENNE DYER and CHRIS WOOLF for the design and development of the Rycote Microphone Windshield Modular System.

Designed to eliminate physical acoustical rumble and to mask a microphone's high sensitivity to wind and other unwanted noises, the lightweight and rugged Rycote Microphone Windshields accomplish these tasks without altering or impairing the original frequency response of the microphone.

[Sound]

To LESLIE DREVER for the design and development of the Light Wave microphone windscreens and isolation mounts from Light Wave Systems.

Designed to eliminate physical acoustical rumble and to cover a microphone's high sensitivity to wind and other unwanted noises, the Light Wave Systems line of shock mounts and windscreens accomplish these tasks without altering or impairing the original frequency response of the microphone.

[Sound]

To RICHARD C. SEHLIN for the concept, and DR. MITCHELL J. BOGDANOWICZ and MARY L. SCHMOEGER of the Eastman Kodak Company for the design and development of the Eastman Lamphouse Modification Filters.

The ELM Filters enable a laboratory to achieve additive printer contrast and color reproduction using a subtractive lamphouse.

[Lenses and Filters]

To HOYT H. YEATMAN, JR. of Dream Quest Images and JOHN C. BREWER of the Eastman Kodak Company for the identification and diagnosis leading to the elimination of the "red fringe" artifact in traveling matte composite photography.

The elimination of the "red fringe" artifact in traveling matte composite photography obviates expensive additional computerized image processing thus reducing the time involved in producing a seamless and convincing composite shot.

[Laboratory]

AWARD OF COMMENDATION

To FPC, Incorporated, under the leadership of Barry M. Stultz and Milton Jan Friedman, for the development and implementation of an environmentally responsible program to recycle or destroy discarded motion picture prints.

JOHN A. BONNER MEDAL OF COMMENDATION

To Edmund M. Di Giulio in appreciation for outstanding service and dedication in upholding the high standards of the Academy of Motion Picture Arts and Sciences.

To Takuo Miyagishima in appreciation for outstanding service and dedication in upholding the high standards of the Academy of Motion Picture Arts and Sciences.

2000 (73rd)

GORDON E. SAWYER AWARD

Irwin W. Young

SCIENTIFIC AND TECHNICAL AWARD (Academy Award of Merit)

To ROB COOK, LOREN CARPENTER and ED CATMULL for their significant advancements to the field of motion picture rendering as exemplified in Pixar's "Renderman."

Their broad professional influence in the industry continues to inspire and contribute to the advancement of computer-generated imagery for motion pictures.

[Special Photographic]

SCIENTIFIC AND TECHNICAL AWARD (Scientific and Engineering Award)

To AL MAYER, SR. and AL MAYER, JR., for the mechanical design, IAIN NEIL for the optical design and BRIAN DANG for the electronic design of the Panavision Millennium XL Camera System.

This camera brings the full uncompromised performance of larger heavy-duty cameras to the lightest weight category with ruggedness and advanced features previously expected only in specialized or effects cameras.

[Camera]

To JOE WARY, GERALD PAINTER and COLIN F. MOSSMAN for the design and development of the Deluxe Laboratories Multi Roller Film Transport System.

This release print system at Deluxe Laboratories utilizes a revolutionary design allowing for higher print volumes, reduced space requirements for loop racks and elevators, and safer operation.

[Laboratory]

To ALVAH J. MILLER and PAUL JOHNSON of Lynx Robotics for the electronic and software design of the Lynx C-50 Camera Motor System.

This camera motor, operated with programmable microprocessors, achieves an unprecedented range of precisely controlled speeds in stand-alone cameras or when synchronized to motion-control systems.

[Camera]

To AKAI DIGITAL for the design and development of the DD8plus digital audio dubber specifically designed for the motion picture industry.

[These] digital audio dubbers have afforded the post-production community a faster, more cost-effective means of playing back hundreds of digital audio tracks for pre-mixing or final mixing in creating motion picture sound tracks. They also offer individual track slipping in multiple track configurations, random access recall, and both destructive and non-destructive editing capabilities, eliminating the requirements for razor blade conforming.

[Sound]

To FAIRLIGHT for the design and development of the DAD digital audio dubber specifically designed for the motion picture industry.

[These] digital audio dubbers have afforded the post-production community a faster, more cost-effective means of playing back hundreds of digital audio tracks for pre-mixing or final mixing in creating motion picture sound tracks. They also offer individual track slipping in multiple track configurations, random access recall, and both destructive and non-destructive editing capabilities, eliminating the requirements for razor blade conforming.

[Sound]

To ADVANCED DIGITAL SYSTEMS GROUP (ADSG) for the design and development of the Sony DADR 5000 digital audio dubber specifically designed for the motion picture industry.

[These] digital audio dubbers have afforded the post-production community a faster, more cost-effective means of playing back hundreds of digital audio tracks for pre-mixing or final mixing in creating motion picture sound tracks. They also offer individual track slipping in multiple track configurations, random access recall, and both destructive and non-destructive editing capabilities, eliminating the requirements for razor blade conforming.

[Sound]

To TIMELINE, INCORPORATED for the design and development of the MMR 8 digital audio dubber specifically designed for the motion picture industry.

[These] digital audio dubbers have afforded the post-production community a faster, more cost-effective means of playing back hundreds of digital audio tracks for pre-mixing or final mixing in creating motion picture sound tracks. They also offer individual track slipping in multiple track configurations, random access recall, and both destructive and non-destructive editing capabilities, eliminating the requirements for razor blade conforming.

[Sound]

SCIENTIFIC AND TECHNICAL AWARD (Technical Achievement Award)

To LEONARD PINCUS, ASHOT NALBANDYAN, GEORGE JOHNSON, THOMAS KONG and DAVID PRINGLE for the design and development of the SoftSun low pressure xenon long-arc light sources, their power supplies and fixtures.

With the ability to dim these very high powered lights at essentially constant Kelvin temperature and without flicker, these units produce a bright and even light source for general set lighting. The availability of very high wattage units allows production to extend the hours of work past the time when the crew would otherwise have "lost the light."

[Lighting]

To VIC ARMSTRONG for the refinement and application to the film industry of the Fan Descender for accurately and safely arresting the descent of stunt persons in high freefalls.

Considered a standard of the industry, the Fan Descender provides a means for significantly increasing the safety of very high stunt falls. The system permits falls to be made under controlled deceleration and with a highly predictable stopping point without limitation of camera angles.

[Stage Operations]

To PHILIP GREENSTREET of Rosco Laboratories for the concept and development of the Roscolight Day/Night Backdrop.

This unique photographic scenic backing allows a smooth transition from day to night views with a single backing. The Roscolight backings provide an important new creative tool to filmmakers, saving time, money and stage space.

[Stage Operations]

To UDO SCHAUSS, HILDEGARD EBBESMEIER and KARL LENHARDT for the optical design, and RALF LINN and NORBERT BRINKER for the mechanical design of the Schneider Super Cinelux lenses for motion picture projection.

These projection lenses provide a significant improvement in the quality of the cinema viewing experience.

[Lenses and Filters]

To GLENN M. BERGGREN for the concept, HORST LINGE for research and development, and WOLFGANG REINECKE for the optical design of the ISCO Ultra-Star Plus lenses for motion picture projection.

The unique optical design of the Ultra-Star Plus projection lenses achieves unprecedented edge-to-edge uniformity of illumination, combined with a significant increase in screen brightness, thus providing a substantial improvement in the cinema viewing experience.

[Lenses and Filters]

To BILL TONDREAU of Kuper Systems, ALVAH J. MILLER and PAUL JOHNSON of Lynx Robotics, and DAVID STUMP of Visual Effects Rental Services for the conception, design and development of data capture systems that enable superior accuracy, efficiency and economy in the creation of composite imagery.

These systems digitally record live action camera and axis data with practically no impact on the live action production process, allowing compositing for visual effects to become faster and more cost-effective.

[Systems]

To VENKAT KRISHNAMURTHY for the creation of the Paraform Software for 3D Digital Form Development.

This system streamlines the creation of 3D computer graphics models by allowing artists to convert the data from automatically scanned physical models into a user-specified configuration of patches well suited for use in computer applications.

[Special Photographic]

To GEORGE BORSHUKOV, KIM LIBRERI and DAN PIPONI for the development of a system for image-based rendering allowing choreographed camera movements through computer graphic reconstructed sets.

This component of the Manex Visual Effects Virtual Cinematography System provides theatrical-quality virtual settings.

[Special Photographic]

To JOHN P. PYTLAK for the development of the Laboratory Aim Density (LAD) system.

The LAD system has become the standard method used by film laboratories and digital film recording facilities for the effecient and uniform control of color and exposure in camera negatives, interpositives and duplicate negatives.

[Laboratory]

AWARD OF COMMENDATION

To Ioan Allen for the concept, Robin Bransbury for the design and Mark Harrah for the implementation of the Trailer Audio Standards Association (TASA) Loudness Standard.

The adoption of the TASA loudness standard has led directly to better sound in the cinema for trailers and features alike.

JOHN A. BONNER MEDAL OF COMMENDATION

To N. Paul Kenworthy, Jr. in appreciation for outstanding service and dedication in upholding the high standards of the Academy of Motion Picture Arts and Sciences.

2001 (74th)

GORDON E. SAWYER AWARD

Edmund M. Di Giulio

SCIENTIFIC AND TECHNICAL AWARD (Scientific and Engineering Award)

To JOHN M. EARGLE, D.B. "DON" KEELE and MARK E. ENGEBRETSON for the concept, design and engineering of the modern constant-directivity, direct radiator style motion picture loudspeaker systems.

The work of John M. Eargle, D.B. "Don" Keele and Mark E. Engebretson has resulted in the over 20-year dominance of constant-directivity, direct radiator bass style cinema loudspeaker systems.

[Sound]

To IAIN NEIL for the concept and optical design and AL SAIKI for the mechanical design of the Panavision Primo Macro Zoom Lens (PMZ).

This compact, wide-angle, macro focus lens enhances and expands the picture-capturing ability, both technically and artistically, of the cinematographer. It is the first cine lens that allows macro photography while still being able to zoom.

[Lenses and Filters]

To FRANZ KRAUS, JOHANNES STEURER and WOLFGANG RIEDEL for the design and development of the ARRILASER Film Recorder.

The ARRILASER film recorder demonstrates a high level of engineering resulting in a compact, user-friendly, low-maintenance device while at the same time maintaining outstanding speed, exposure ratings and image quality.

[Special Photographic]

To PETER KURAN for the invention, and SEAN COUGHLIN, JOSEPH A. OLIVIER and WILLIAM CONNER for the engineering and development of the RCI-Color Film Restoration Process.

This photo-chemical process restores color to faded color negative using off-the-shelf film stocks with a unique approach. The resulting film intermediate can be used to create a new internegative.

[Laboratory]

To MAKOTO TSUKADA, SHOJI KANEKO and the TECHNICAL STAFF OF IMAGICA CORPORATION, and DAIJIRO FUJIE of Nikon Corporation for the engineering excellence and the impact on the motion picture industry of the Imagica 65/35 Multi-Format Optical Printer.

This liquid-gate optical printer offers ease of set-up and change-over to various formats from 35mm to 65mm 15-perf with both additive and subtractive lamp houses.

[Special Photographic]

To STEVEN GERLACH, GREGORY FARRELL and CHRISTIAN LURIN for the design, engineering and implementation of the Kodak Panchromatic Sound Recording Film.

Allowing all four soundtrack systems to be exposed on a single negative with relative ease, this stock has allowed single inventory prints, facilitating the more economic distribution of motion pictures.

[Sound]

To PAUL J. CONSTANTINE and PETER M. CONSTANTINE for the design and development of the CELCO Digital Film Recorder products.

CELCO recorder products have had a significant impact on the industry through continual improvements in their technology.

[Special Photographic]

SCIENTIFIC AND TECHNICAL AWARD (Technical Achievement Award)

To PETE ROMANO for the design and development of the Remote AquaCam, an underwater camera housing system for use in motion pictures.

The Remote AquaCam brings to the industry an underwater camera housing specifically designed for remote and high-speed operation. Its hydro-dynamic shape facilitates ease of operation for surface hand-held filming, and its remote capabilities allow it to film in confined areas or in situations where an operator cannot be near the camera.

[Photography]

To JORDAN KLEIN for his pioneering efforts in the development and application of underwater camera housings for motion pictures.

With over 50 years of involvement in the design and development of underwater camera housings, Jordan Klein's work has had significant influence in the field of underwater photography.

[Photography]

To BERNARD M. WERNER and WILLIAM GELOW for the engineering and design of filtered line arrays and screen spreading compensation as applied to motion picture loudspeaker systems.

Employing both tapered line array and filtered line array technologies and unique passive and active filter networks, their work with cinema loudspeakers was both innovative and dedicated specifically to cinema applications.

[Sound]

To TOMLINSON HOLMAN for the research and systems integration resulting in the improvement of motion picture loudspeaker systems.

For over 20 years Tomlinson Holman has been involved in the research and integration of the constant-directivity, direct radiator bass type of cinema loudspeaker systems.

[Sound]

To GEOFF JACKSON and ROGER WOODBURN for their DMS 120S Camera Motor.

This well-engineered camera motor features built-in time-lapse programmability and is useful in an unusually wide range of applications, including MOS production filming, high-speed photography, animation and motion control.

[Camera]

To THOMAS MAJOR BARRON for the overall concept and design; CHAS SMITH for the structural engineering; and GORDON SEITZ for the mechanical engineering of the Bulldog Motion Control Camera Crane.

This motion control camera crane represents an unprecedented combination of long reach, high speed, and a novel approach to its transport, which allows a very rapid setup on location.

[Camera Cranes]

To JOHN R. ANDERSON, JIM HOURIHAN, CARY PHILLIPS and SEBASTIAN MARINO for the development of the ILM Creature Dynamics System.

This system makes hair, clothing, skin, flesh and muscle simulation both directable and integrated within a character animation and rigging environment.

[Digital Imaging Technology]

To STEVE SULLIVAN and ERIC R.L. SCHAFER for the development of the ILM Motion and Structure Recovery System (MARS).

The MARS system provides analysis of camera motion and object motion, and their dimensions. It employs a rich set of user-interface tools and sophisticated algorithms.

[Digital Imaging Technology]

To CARL LUDWIG and JOHN M. CONSTANTINE, JR. for their contributions to CELCO Digital Film Recorder products.

CELCO recorder products have had a significant impact on the industry through continual improvements in their technology.

[Special Photographic]

To BILL SPITZAK, PAUL VAN CAMP, JONATHAN EGSTAD and PRICE PETHEL for their pioneering effort on the NUKE-2D Compositing Software.

The Nuke-2D compositing software allows for the creation of complex interactive digital composites using relatively modest computing hardware.

[Digital Imaging Technology]

To DR. LANCE J. WILLIAMS for his pioneering influence in the field of computer-generated animation and effects for motion pictures.

The ongoing influence of Lance Williams is exemplified in his three seminal papers "Casting Shadows on Curved Surfaces," "Pyramidal Parametrics" and "View Interpolation for Image Synthesis."

[Digital Imaging Technology]

To DR. UWE SASSENBERG and ROLF SCHNEIDER for the development of "3D Equalizer," an advanced and robust camera and object match-moving system.

This dominant commercial tracking system provides "survey-free" tracking, which significantly reduces the need for painstaking, error-prone measurements on sets.

[Digital Imaging Technology]

To DR. GARLAND STERN for the concept and implementation of the Cel Paint Software System.

All current cel painting applications in the motion picture industry can be traced back to the original idea and pioneering implementation of Garland Stern.

[Digital Imaging Technology]

To MIC RODGERS and MATT SWEENEY for the concept, design and realization of the "Mic Rig."

This self-contained, low bed picture car carrier and camera platform enables the safe, economic and realistic filming of action sequences that may involve principal actors and dialogue.

[Stage Operations]

AWARD OF COMMENDATION

To Rune Ericson for his pioneering development and 30 years of dedication to the Super 16mm format for motion pictures.

The Super 16mm film format has achieved a significant impact on the worldwide film industry by playing a major role in empowering low budget films to be produced for theatrical release.

To the American Society of Cinematographers (ASC) for the continued publication of the "American Cinematographer Manual."

Born from "The Cinematographic Annual," first published by the ASC in 1930, the "American Cinematographer Manual" has become an essential bible for cinematographers. Currently in its eighth edition, this premier reference manual has had a significant impact on decades of motion picture photography around the world.

JOHN A. BONNER MEDAL OF COMMENDATION

To Ray Feeney in appreciation for outstanding service and dedication in upholding the high standards of the Academy of Motion Picture Arts and Sciences.

2002 (75th)

SCIENTIFIC AND TECHNICAL AWARD (Academy Award of Merit)

To ALIAS/WAVEFRONT for the development of a 3D animation, dynamics, modeling and rendering production tool known as Maya.

With its significant and dominant impact on the motion picture industry, the Maya software package offers a robust and widely used commercial visual effects tool with a rich infrastructure for extension and customization.

[Digital Imaging Technology]

To ARNOLD & RICHTER CINE TECHNIK and PANAVISION INC., for their continuing development and innovation in the design and manufacturing of advanced camera systems specifically designed for the motion picture entertainment industry.

With a commitment that lies beyond the usual commercial considerations, these two manufacturers continue to lead the industry in developing and introducing products that have defined the state of the art in motion picture camera technology.

[Camera]

SCIENTIFIC AND TECHNICAL AWARD (Scientific and Engineering Award)

To GLENN SANDERS and HOWARD STARK of Zaxcom for the concept, design and engineering of the portable Deva Digital Audio Disk Recorder.

This innovative design employs advanced hard disk recording technology and digital audio techniques for use in both production and post-production recording applications.

[Sound]

To MARK ELENDT, PAUL H. BRESLIN, GREG HERMANOVIC and KIM DAVIDSON for their continued development of the procedural modeling and animation components of their Prisms program, as exemplified in the Houdini software package.

Through a procedural building-block process, the Houdini software is used to simulate natural phenomena using particle effects and complex three-dimensional models.

[Digital Imaging Technology]

To DR. LESLIE GUTIERREZ, DIANE E. KESTNER, JAMES MERRILL and DAVID NIKLEWICZ for the design and development of the Kodak Vision Premier Color Print Film, 2393.

This film stock provides filmmakers with enhanced color saturation, higher contrast and darker blacks, producing a bold, colorful 'look' on the theater screen.

[Film]

To DEDO WEIGERT for the concept, DR. DEPU JIN for the optical calculations, and FRANZ PETTERS for the mechanical construction of the Dedolight 400D.

This uniquely designed set light provides superior performance, reliability and ease of use. Combined with its excellent array of accessories, the Dedolight 400D is an outstanding engineering achievement.

[Lighting]

SCIENTIFIC AND TECHNICAL AWARD (Technical Achievement Award)

To DICK WALSH for the development of the PDI/DreamWorks Facial Animation System.

This effective software simulation system is used to create and control natural, expressive, highly-nuanced facial animation on a wide range of computer-generated characters.

[Digital Imaging Technology]

To THOMAS DRIEMEYER and to the TEAM OF MATHEMATICIANS, PHYSICISTS AND SOFTWARE ENGINEERS OF MENTAL IMAGES for their contributions to the Mental Ray rendering software for motion pictures.

Mental Ray is a highly programmable computer-graphics renderer incorporating ray tracing and global illumination to realistically simulate the behavior of light in computer-generated imagery.

[Digital Imaging Technology]

To ERIC DANIELS, GEORGE KATANICS, TASSO LAPPAS and CHRIS SPRINGFIELD for the development of the Deep Canvas rendering software.

The Deep Canvas software program captures the orginal brush strokes of the traditional background artist to render elements in three dimensions for animated films.

[Digital Imaging Technology]

To JIM SONGER for his contributions to the technical development of video-assist in the motion picture industry.

The work of Jim Songer from 1968 through 1973 led directly to the more widespread acceptance of video-assist in the motion picture industry.

[Systems]

To PIERRE CHABERT of Airstar for the introduction of balloons with internal light sources to provide set lighting for the motion picture industry.

These helium-filled balloons with internal arrangements for tungsten halogen and HMI light sources, are usable indoors or out, quick to set up, require essentially no rigging and provide a soft light that can cover a very large area.

[Lighting]

To RAWDON HAYNE and ROBERT W. JEFFS of Leelium Tubelites for their contributions to the development of internally lit balloons for motion picture lighting.

These helium-filled balloons with internal arrangements for tungsten halogen and HMI light sources, are usable indoors or out, quick to set up, require essentially no rigging and provide a soft light that can cover a very large area.

[Lighting]

JOHN A. BONNER MEDAL OF COMMENDATION

To Curt R. Behlmer in appreciation for outstanding service and dedication in upholding the high standards of the Academy of Motion Picture Arts and Sciences.

To Richard B. Glickman in appreciation for outstanding service and dedication in upholding the high standards of the Academy of Motion Picture Arts and Sciences.

2003 (76th)

GORDON E. SAWYER AWARD

Peter D. Parks

SCIENTIFIC AND TECHNICAL AWARD (Academy Award of Merit)

To DIGIDESIGN for the design, development and implementation of the Pro Tools® digital audio workstation.

The efficient algorithms, extensible architecture and intuitive interface have enabled Pro Tools to become the worldwide standard for the creation and editing of motion picture soundtracks.

[Sound]

To BILL TONDREAU of Kuper Controls for his significant advancements in the field of motion control technology for motion picture visual effects.

Measuring his valuable contributions to the invention and implementation of robotic camera systems in decades rather than years, his efforts have aided motion control in becoming a core technology that has supported the renaissance of visual effects.

[Systems]

SCIENTIFIC AND TECHNICAL AWARD (Scientific and Engineering Award)

To KINOTON GmbH for the engineering and development of the Kinoton FP 30/38 EC II Studio Projector.

This high-speed studio projector produces an image quality equal to projectors with Geneva movements. With its unparalleled shuttle speed, reversibility and acceleration, this projector has set a new standard for post-production viewing as well as in traditional screening facilities.

[Projection]

To KENNETH L. TINGLER, CHARLES C. ANDERSON, DIANE E. KESTNER and BRIAN A. SCHELL of the Eastman Kodak Company for the successful development of a process-surviving antistatic layer technology for motion picture film.

This technology successfully controls the static charge buildup on processed intermediate and sound negative films during high speed printing operations.

[Laboratory]

To CHRISTOPHER ALFRED, ANDREW J. CANNON, MICHAEL C. CARLOS, MARK CRABTREE, CHUCK GRINDSTAFF and JOHN MELANSON for their significant contributions to the evolution of digital audio editing for motion picture post production.

Through their respective pioneering efforts with AMS AudioFile, Waveframe and Fairlight, the work of these gentlemen contributed significantly to the development and realization of digital audio workstations with full editing capabilities for motion picture soundtracks.

[Digital Imaging Technology]

To STEPHEN REGELOUS for the design and development of Massive, the autonomous agent animation system used for the battle sequences in "The Lord of the Rings" trilogy.

Massive takes a new approach in simulating behaviors of large numbers of computer-generated extras a.k.a. "agents." Each "agent" contains a primitive software "brain" used to develop behavioral rules simulating a wide range of behaviors. In "The Lord of the Rings" trilogy, over 200,000 agents were controlled in several scenes.

[Digital Imaging Technology]

SCIENTIFIC AND TECHNICAL AWARD (Technical Achievement Award)

To KISH SADHVANI for the concept and optical design, PAUL DUCLOS for the practical realization and production engineering and CARL PERNICONE for the mechanical design and engineering of the portable cine viewfinder system known as the Ultimate Director's Finder (UDF).

This versatile, modular and widely accepted cine viewfinder system is capable of properly displaying images in multiple formats ranging from 35mm anamorphic to super 16.

[Photography]

To HENRIK WANN JENSEN, STEPHEN R. MARSCHNER and PAT HANRAHAN for their pioneering research in simulating subsurface scattering of light in translucent materials as presented in their paper "A Practical Model for Subsurface Light Transport."

This mathematical model contributed substantially to the development and implementation of practical techniques for simulating subsurface scattering of light in translucent materials for computer-generated images in motion pictures.

[Digital Imaging Technology]

To CHRISTOPHE HERY, KEN McGAUGH and JOE LETTERI for their groundbreaking implementations of practical methods for rendering skin and other translucent materials using subsurface scattering techniques.

These groundbreaking techniques were used to create realistic-looking skin on digitally created characters.

[Digital Imaging Technology]

JOHN A. BONNER MEDAL OF COMMENDATION

To Douglas Greenfield in appreciation for outstanding service and dedication in upholding the high standards of the Academy of Motion Picture Arts and Sciences.

2004 (77th)

GORDON E. SAWYER AWARD

Takuo Miyagishima

SCIENTIFIC AND TECHNICAL AWARD (Academy Award of Merit)

To HORST BURBULLA for the invention and continuing development of the Technocrane telescoping camera crane.

With its electronically driven leveling head, adjustable moveable weight carriage, and lightweight, extremely precise telescoping beam elements that allow camera movement during shots, the Technocrane has redefined the state-of-the-art in camera crane technology.

[Camera Cranes]

To JEAN-MARIE LAVALOU, ALAIN MASSERON and DAVID SAMUELSON for the engineering and development of the Louma Camera Crane and remote system for motion picture production.

The Louma pioneered a remotely-operated camera head combined with a lightweight and portable modular crane. Its design has proved to be the inspiration for numerous subsequent remote camera systems.

[Camera Cranes]

SCIENTIFIC AND TECHNICAL AWARD (Scientific and Engineering Award)

To GYULA MESTER (electronic systems design) and KEITH EDWARDS (mechanical engineering) for their significant contributions to and continuing development of the Technocrane telescoping camera crane.

With its electronically driven leveling head, adjustable moveable weight carriage, and lightweight, extremely precise telescoping beam elements that allow camera movement during shots, the Technocrane has redefined the state-of-the-art in camera crane technology.

[Camera Cranes]

To LINDSAY ARNOLD, GUY GRIFFITHS, DAVID HODSON, CHARLIE LAWRENCE and DAVID MANN for their development of the Cineon Digital Film Workstation.

Cineon pioneered a commercial node-graph compositing system establishing a new visual method for direct manipulation of the compositing process, which influenced and defined modern digital compositing workflows.

[Digital Imaging Technology]

SCIENTIFIC AND TECHNICAL AWARD (Technical Achievement Award)

To GREG CANNOM and WESLEY WOFFORD for the development of their special modified silicone material for makeup appliances used in motion pictures.

This proprietary modified silicone makeup system allows for the creation of either partial or full-face appliances for motion picture makeup effects that move like real flesh, have translucency similar to skin and will accept standard makeup materials.

[Systems]

To JERRY COTTS for the original concept and design and ANTHONY SEAMAN for the engineering of the Satellight-X HMI Softlight.

With its large radiating surface and thin profile, this collapsible, self-contained HMI softlight provides a diffuse light to simulate daylight in location interiors, where space is often limited.

[Lighting]

To STEVEN E. BOZE for the design and implementation of the DNF 001 multi-band digital audio noise suppressor.

Designed in the early 1990s when digital signal processing was in its early stages, the real-time digital approach of the DNF 001 provided accurate filter response with minimal interaction, allowing noise attenuation with fewer artifacts.

[Sound]

To DR. CHRISTOPHER HICKS and DAVE BETTS for the design and implementation of the Cedar DNS 1000 multi-band digital noise suppressor.

The Cedar DNS 1000 is specifically designed to reduce background noise from recorded motion picture dialog. With its precise filters it allows the frequency ranges to be altered or even cascaded to pinpoint and reduce the offending noise.

[Sound]

To NELSON TYLER for the development of the Tyler Gyroplatform boat mount stabilizing device for motion picture photography.

As a pioneer in this area of motion picture technology, Tyler's 2-axis, hydraulically-powered camera mount successfully eliminates the pitch and roll associated with camera shots taken from a boat in the water.

[Photography]

To DR. JULIAN MORRIS, MICHAEL BIRCH, DR. PAUL SMYTH and PAUL TATE for the development of the Vicon motion capture technology.

Vicon Motion Systems developed special-purpose cameras for motion capture with software systems that maximized their impact on the motion picture industry.

[Digital Imaging Technology]

To DR. JOHN O.B. GREAVES, NED PHIPPS, ANTONIE J. VAN DEN BOGERT and WILLIAM HAYES for the development of the Motion Analysis motion capture technology.

Motion Analysis Corporation developed special-purpose cameras for motion capture with software systems that maximized their impact on the motion picture industry.

[Digital Imaging Technology]

To DR. NELS MADSEN, VAUGHN CATO, MATTHEW MADDEN and BILL LORTON for the development of the Giant Studios motion capture technology.

The software solution created by Giant Studios applied a unique biometric approach that has influenced the development of motion capture technology for motion pictures.

[Digital Imaging Technology]

To ALAN KAPLER for the design and development of "Storm," a software toolkit for artistic control of volumetric effects.

"Storm" employs an efficient method for directly manipulating volumetric data to create effects such as clouds, water and avalanches with familiar operators inspired by image compositing and painting operations.

[Digital Imaging Technology]

AWARD OF COMMENDATION

To Arthur Widmer for his lifetime of achievement in the science and technology of image compositing for motion pictures as exemplified by his significant contributions to the development of the Ultra Violet and the "bluescreen" compositing processes.

2005 (78th)

GORDON E. SAWYER AWARD

Gary Demos

SCIENTIFIC AND TECHNICAL AWARD (Scientific and Engineering Award)

To DAVID GROBER for the concept and mechanical design and SCOTT LEWALLEN for the electronic and software design of the Perfect Horizon camera stabilization head.

Perfect Horizon effectively neutralizes the extraneous motion encountered in boats, camera cars, snowmobiles or other vehicles, leaving the pan/tilt head and camera stable and level with the horizon.

[Photography]

To ANATOLIY KOKUSH, YURIY POPOVSKY and OLEKSIY ZOLOTAROV for the concept and development of the Russian Arm gyro-stabilized camera crane and the Flight Head.

The Russian Arm and Flight Head opened new possibilities for filmmakers. With the ability to be mounted on the roof of almost any car, this remotely-operated crane and camera head can move smoothly in a 360 degree circle around the car, even while it is being driven at high speeds by actors, creating heretofore impossible perspectives.

[Camera Cranes]

To ANATOLIY KOKUSH for the concept and development of the Cascade series of motion picture cranes.

The lightweight structure of the Cascade and Traveling Cascade Cranes enables the filmmaker to achieve heights of up to 70 feet, allowing for the placement of the camera in otherwise impossible locations.

[Camera Cranes]

To GARRETT BROWN for the original concept of the Skycam flying camera system -- the first use of 3-D volumetric cable technology for motion picture cinematography.

In creating the first remote-controlled, cable-supported flying camera system, Garrett Brown's pioneering efforts have influenced all subsequent development in this area of technology.

[Camera Cranes]

To DAVID BARAFF, MICHAEL KASS and ANDREW WITKIN for their pioneering work in physically-based computer-generated techniques used to simulate realistic cloth in motion pictures.

Their 1998 paper titled "Large Steps in Cloth Simulation" was a seminal work, providing the key in demonstrating to the industry that the calculations necessary to simulate realistic, complex cloth could be achieved efficiently and robustly. Their work provided the conceptual foundation for many cloth simulation systems in use today.

[Digital Imaging Technology]

To LAURIE FROST, PETER HANNAN and RICHARD LONCRAINE for the development of the remote camera head known as the Hot-Head.

In use for over a quarter of a century, the Hot-Head has brought the possibility of safe, remotely-operated shots to every filmmaker.

[Photography]

SCIENTIFIC AND TECHNICAL AWARD (Technical Achievement Award)

To GARY THIELTGES for the design and development of the remotely-operated, lightweight camera head known as the Sparrow Head.

This well-integrated remote system enables filmmakers to remotely pan and tilt their camera from virtually any moving vehicle, giving the opportunity for unprecedented dynamic camera angles.

[Photography]

To FRANK FLETCHER and DAVE SHERWIN for the introduction and continuing development of the Power Pod modular camera head system.

The Power Pod system enables filmmakers to configure a remote controlled head to meet their own unique requirements.

[Photography]

To ALVAH MILLER, MICHAEL SORENSEN and J. WALT ADAMCZYK for the design and development of the Aerohead motion control camera head and the J-Viz Pre-Visualization system.

This remote head not only serves the needs of the live-action filmmaker, but also provides the functionality of a motion-controlled head, allowing for sophisticated tiling and pre-visualization techniques.

[Photography]

To SCOTT LEVA for the design and development of the Precision Stunt Airbag for motion picture stunt falls.

The Precision Stunt Airbag is designed to envelop the stunt jumper, even on off-center hits. This feature serves to enhance the safety of stunt performers in falls from up to 200 feet.

[Stage Operations]

To LEV YEVSTRATOV, GEORGE PETERS and VASILIY ORLOV for the development of the Ultimate Arm Camera Crane System for specialized vehicle photography.

Representing a significant evolutionary improvement in camera car technology, this remotely-controlled, gyro-stabilized and flexible camera crane offers a highly stable platform for high-speed, rough terrain action shots. Its ingenious applications of sophisticated technology solve many of the problems inherent in chase vehicle filming.

[Camera Cranes]

To JAMES RODNUNSKY, ALEX MacDONALD and MARK CHAPMAN for the development of the Cablecam 3-D volumetric suspended cable camera technologies.

The evolution of the Cablecam technology has made it possible to move a camera safely and accurately anywhere through a three-dimensional space.

[Camera Cranes]

To TIM DRNEC, BEN BRITTEN SMITH and MATT DAVIS for the development of the Spydercam 3-D volumetric suspended cable camera technologies.

The evolution of the Spydercam technology has made it possible to move a camera safely and accurately anywhere through a three-dimensional space.

[Camera Cranes]

To JOHN PLATT and DEMETRI TERZOPOULOS for their pioneering work in physically-based computer-generated techniques used to simulate realistic cloth in motion pictures.

Their 1987 paper "Elastically Deformable Models" was a milestone in computer graphics, introducing the concept of physically-based techniques to simulate moving, deforming objects.

[Digital Imaging Technology]

To ED CATMULL, for the original concept, and TONY DeROSE and JOS STAM for their scientific and practical implementation of subdivision surfaces as a modeling technique in motion picture production.

Subdivision surfaces have become a preferred modeling primitive for many types of motion picture computer graphics.

[Digital Imaging Technology]

To HAROLD RATTRAY, TERRY CLABORN, STEVE GARLICK, BILL HOGUE and TIM REYNOLDS for the design, engineering and implementation of the Technicolor Real Time Answer Print System.

This system provides a method by which filmmakers can preview real-time color corrections using actual film prints, reducing both the turnaround time and the number of reprints required.

[Laboratory]

To UDO SCHAUSS and HILDEGARD EBBESMEIER for the optical design and NICOLE WEMKEN and MICHAEL ANDERER for the mechanical design of the Cinelux Premiere Cinema Projection Lenses.

The Cinelux Premiere Lenses incorporate an iris and aspheric elements which provide a more uniform modulation transfer function and better light transmission to the sides and corners of the theater projection screen. This reduces the traditional problems of softness in the corners, hot-spotting and varying brightness between film formats.

[Projection]

JOHN A. BONNER MEDAL OF COMMENDATION

To Don Hall in appreciation for outstanding service and dedication in upholding the high standards of the Academy of Motion Picture Arts and Sciences.

2006 (79th)

GORDON E. SAWYER AWARD

Ray Feeney

SCIENTIFIC AND TECHNICAL AWARD (Scientific and Engineering Award)

To PHILLIP J. FEINER, JIM HOUSTON, DENIS LECONTE and CHRIS BUSHMAN of Pacific Title and Art Studio for the design and development of the Rosetta process for creating digital YCM archival masters for digital film restoration.

With elements that may be recombined either digitally or optically, the Rosetta Separations process offers a uniquely great versatility in achieving high-quality results for digital YCM archiving.

[Laboratory]

To STEVE SULLIVAN, COLIN DAVIDSON, MAX CHEN and FRANCESCO CALLARI for the design and development of the ILM Image-based Modeling System.

This highly integrated system facilitates interactive construction and editing of 3D models from digital photographs and addresses the three-dimensional scanning needs of motion pictures in unique and innovative ways.

[Digital Imaging Technology]

To DR. BILL COLLIS, SIMON ROBINSON, BEN KENT and DR. ANIL KOKARAM for the design and development of the Furnace integrated suite of software tools that robustly utilizes temporal coherence for enhancing visual effects in motion picture sequences.

The Furnace toolset's modularity, flexibility and robustness has set a high standard of quality for optical flow-based image manipulation.

[Digital Imaging Technology]

To HOWARD PRESTON and MIRKO KOVACEVIC for the design and engineering of the Preston Cinema Systems FI+Z wireless remote system.

Pioneering unprecedented reliability and flexibility in wireless lens and camera operation, the FI+Z has continued to be a leader in innovation since its introduction in 1994.

[Photography]

SCIENTIFIC AND TECHNICAL AWARD (Technical Achievement Award)

To JOSHUA PINES and CHRIS KUTCKA of Technicolor Digital Intermediates for the design and development of the TDI process for creating archival separations from digital image data.

The TDI process is based on the production of digital separation negatives creating archival elements that can be scanned and digitally recombined in the future.

[Laboratory]

To WILLIAM FEIGHTNER and CHRIS EDWARDS of E-Film for the design and development of the E-Film process for creating archival separations from digital image data.

The E-Film process is based on the production of digital separation negatives creating archival elements that can be scanned and digitally recombined in the future.

[Laboratory]

To ALBERT RIDILLA, PAPKEN SHAHBAZIAN, RONALD BELKNAP and JAY McGARRIGLE for the design and development of the Hollywood Film Company Brumagic MPST Densitometer.

The Brumagic MPST was designed specifically to measure density in the motion picture soundtrack and has become the densitometer of choice for reading soundtrack negative and positive densities worldwide.

[Sound]

To KLEMENS KEHRER, JOSEF HANDLER, THOMAS SMIDEK and MARC SHIPMAN MUELLER for the design and development of the Arriflex 235 Camera System.

Designed for handheld photography, the features of this small, lightweight MOS camera also allow it to be used as a secondary production camera.

[Camera]

To FLORIAN KAINZ for the design and engineering of OpenEXR, a software package implementing 16-bit, floating point, high dynamic range image files.

Widely adopted, OpenEXR is engineered to meet the requirements of the visual effects industry by providing for lossless and lossy compression of tiered and tiled images.

[Digital Imaging Technology]

To WALTER TRAUNINGER and ERNST TSCHIDA for the design and engineering of the Arri WRC wireless remote lens control system.

This highly modular system permits accurate and reliable wireless control with multiple hand controls of all lens functions.

[Photography]

To CHRISTIAN TSCHIDA and MARTIN WAITZ of cmotion for the design and engineering of the cmotion Wireless Remote System.

The graphical user interface of the cmotion System eases the difficult task of following focus, and the unique lens tag system recalls the calibration for each lens.

[Photography]

To PETER LITWINOWICZ and PIERRE JASMIN for the design and development of the RE:Vision Effects family of software tools for optical flow-based image manipulation.

A unique user interface and relatively low cost have made these tools ubiquitous in the visual effects community.

[Digital Imaging Technology]

AWARD OF COMMENDATION

To Ioan Allen, J. Wayne Anderson, Mary Ann Anderson, Ted Costas, Paul R. Goldberg, Shawn Jones, Thomas Kuhn, Dr. Alan Masson, Colin Mossman, Martin Richards, Frank Ricotta and Richard C. Sehlin for their contributions to the environmentally responsible industry conversion from silver-based to cyan dye analog soundtracks.

JOHN A. BONNER MEDAL OF COMMENDATION

To Richard Edlund in appreciation for outstanding service and dedication in upholding the high standards of the Academy of Motion Picture Arts and Sciences.

2007 (80th)

GORDON E. SAWYER AWARD

David A. Grafton

SCIENTIFIC AND TECHNICAL AWARD (Academy Award of Merit)

To the EASTMAN KODAK COMPANY for the development of photographic emulsion technologies incorporated into the Kodak Vision2 family of color negative films.

These new technologies are breakthroughs in film speed, grain and sharpness that have made a significant impact on the motion picture industry. The Vision2 family allows wider use of high-speed color negative film, lower light levels on set and faster set-ups. Most importantly, Vision2 improves the overall picture quality in theatrical presentation.

[Laboratory]

SCIENTIFIC AND TECHNICAL AWARD (Scientific and Engineering Award)

To DR. DOUG ROBLE, NAFEES BIN ZAFAR and RYO SAKAGUCHI for the development of the fluid simulation system at Digital Domain.

This influential and flexible production-proven system incorporates innovative algorithms and refined adaptations of published methods to achieve large-scale water effects.

[Digital Imaging Technology]

To NICK RASMUSSEN, RON FEDKIW and FRANK LOSASSO PETTERSON for the development of the Industrial Light & Magic fluid simulation system.

This production-proven simulation system achieves large-scale water effects within ILM's Zeno framework. It includes integrating particle level sets, parallel computation, and tools that enable the artistic direction of the results.

[Digital Imaging Technology]

SCIENTIFIC AND TECHNICAL AWARD (Technical Achievement Award)

To CHRISTIEN TINSLEY for the creation of the transfer techniques for creating and applying 2D and 3D makeup known as "Tinsley Transfers."

These techniques allow quick and precisely repeatable application of 2D makeup such as tattoos, bruises and birthmarks, as well as 3D prosthetic appliances ranging in size from small wounds to entire torsos. They utilize self-adhesive material that features an unprecedented combination of tissue-thin edges, resilience, flexibility and water resistance, while requiring no dangerous solvents.

[Systems]

To JÖRG PÖHLER and RÜDIGER KLEINKE of OTTEC Technology GmbH for the design and development of the battery-operated series of fog machines known as "Tiny Foggers."

The operating characteristics of this compact, well-engineered and remote-controllable package make possible a range of safe special effects that would be totally impractical with larger, more conventional fog units.

[Stage Operations]

To SEBASTIAN CRAMER for the invention and general design, and ANDREAS DASSER, head of development at P&S Technik GmbH, for the mechanical design, of the Skater Dolly and its family of products.

This small, portable, camera-only dolly allows low lens positions, movement in restricted places and tight offset circular maneuvers with rapid set-up.

[Camera Cranes]

To VICTOR GONZALEZ, IGNACIO VARGAS and ANGEL TENA for the creation of the RealFlow software application.

RealFlow was the first widely adopted, commercially available, easy-to-use system for the simulation of realistic liquids in motion picture visual effects.

[Digital Imaging Technology]

To JONATHAN M. COHEN, DR. JERRY TESSENDORF, DR. JEROEN MOLEMAKER and MICHAEL KOWALSKI for the development of the system of fluid dynamics tools at Rhythm & Hues.

This system allows artists to create realistic animation of liquids and gases using novel simulation techniques for accuracy and speed, as well as a unique scripting language for working with volumetric data.

[Digital Imaging Technology]

To DUNCAN BRINSMEAD, JOS STAM, JULIA PAKALNS and MARTIN WERNER for the design and implementation of the Maya Fluid Effects system.

This system is used to create simulations of gaseous phenomena integrated into the widely available Maya tool suite, using an unconditionally stable semi-Lagrangian solver.

[Digital Imaging Technology]

To STEPHAN TROJANSKY, THOMAS GANSHORN and OLIVER PILARSKI for the development of the Flowline fluid effects system.

Flowline is a flexible system that incorporates highly parallel computation, allowing rapid iteration and resulting in detailed, realistic fluid effects.

[Digital Imaging Technology]

AWARD OF COMMENDATION

To Jonathan Erland in recognition of his leadership and efforts toward identifying and solving the problem of High-Speed Emulsion Stress Syndrome in motion picture film stock.

By coordinating and conducting tests for and with the industry, and by sharing results openly, Mr. Erland clearly demonstrated the value and effectiveness of independent research and industry-wide cooperation.

JOHN A. BONNER MEDAL OF COMMENDATION

To David Inglish in appreciation for outstanding service and dedication in upholding the high standards of the Academy of Motion Picture Arts and Sciences.

2008 (81st)

GORDON E. SAWYER AWARD

Ed Catmull

SCIENTIFIC AND TECHNICAL AWARD (Scientific and Engineering Award)

To ERWIN MELZNER for the overall concept including the optical and cooling systems, VOLKER SCHUMACHER for the optical design, and TIMO MÜLLER for the mechanical design, of the Arrimax 18/12 lighting fixture for use in motion picture production.

With its choice of vari-focus and specular reflectors, the superior optical and mechanical design of this lighting fixture allows it to operate at 18,000 watts, producing unsurpassed light quality while its innovative cooling system keeps the housing safe to touch.

[Lighting]

To JACQUES DELACOUX for the concept and electronic design, and ALEXANDRE LEUCHTER for the software and electronic design, of the Transvideo video-assist monitors for the motion picture industry.

Using color LCD screens, the Transvideo monitors provide flicker-free video assist bright enough for use in sunlight and have become a ubiquitous tool in both spherical and anamorphic cinematography.

[Systems]

To BRUNO COUMERT and JACQUES DEBIZE for the optical design, and DOMINIQUE CHERVIN and CHRISTOPHE REBOULET for the mechanical design, of the compact and lightweight Angenieux 15-40 and 28-76 zoom lenses for handheld motion picture photography.

With focus and zoom functions that can be easily controlled by either the operator or focus puller while filming handheld, these lightweight zoom lenses demonstrate a very high degree of engineering, supporting both ease of use and quick interchange.

[Lenses and Filters]

SCIENTIFIC AND TECHNICAL AWARD (Technical Achievement Award)

To STEVE HYLÉN for the concept and his continued leadership in the further development of the Hylén Lens System for motion picture effects photography.

When attached to a film or digital production camera, this versatile aerial image device can produce a wide variety of optical effects interactively, on set and in real time without post-production image manipulation.

[Lenses and Filters]

JOHN A. BONNER MEDAL OF COMMENDATION

To Mark Kimball in appreciation for outstanding service and dedication in upholding the high standards of the Academy of Motion Picture Arts and Sciences.

2009 (82nd)

SCIENTIFIC AND TECHNICAL AWARD (Scientific and Engineering Award)

To PER CHRISTENSEN, MICHAEL BUNNELL and CHRISTOPHE HERY for the development of point-based rendering for indirect illumination and ambient occlusion.

Much faster than previous ray-traced methods, this computer graphics technique has enabled color bleeding effects and realistic shadows for complex scenes in motion pictures.

[Digital Imaging Technology]

To DR. RICHARD KIRK for the overall design and development of the Truelight real-time 3D look-up table hardware device and color management software.

Through the use of color management software and hardware, this complete system enables accurate color presentation in the digital intermediate preview process. The Truelight system is widely utilized in digital intermediate production environments around the world.

[Laboratory]

To VOLKER MASSMANN, MARKUS HASENZAHL, DR. KLAUS ANDERLE and ANDREAS LOEW for the development of the Spirit 4K/2K film scanning system as used in the digital intermediate process for motion pictures.

The Spirit 4K/2K has distinguished itself by incorporating a continuous-motion transport mechanism enabling full-range, high-resolution scanning at much higher frame rates than non-continuous transport scanners.

[Laboratory]

To MICHAEL CIESLINSKI, DR. REIMAR LENZ and BERND BRAUNER for the development of the ARRISCAN film scanner, enabling high-resolution, high-dynamic range, pin-registered film scanning for use in the digital intermediate process.

The ARRISCAN film scanner utilizes a specially designed CMOS array sensor mounted on a micro-positioning platform and a custom LED light source. Capture of the film's full dynamic range at various scan resolutions is implemented through sub-pixel offsets of the sensor along with multiple exposures of each frame.

[Laboratory]

To WOLFGANG LEMPP, THEO BROWN, TONY SEDIVY and DR. JOHN QUARTEL for the development of the Northlight film scanner, which enables high-resolution, pin-registered scanning in the motion picture digital intermediate process.

Developed for the digital intermediate and motion picture visual effects markets, the Northlight scanner was designed with a 6K CCD sensor, making it unique in its ability to produce high-resolution scans of 35mm, 8-perf film frames.

[Laboratory]

To STEVE CHAPMAN, MARTIN TLASKAL, DARRIN SMART and DR. JAMES LOGIE for their contributions to the development of the Baselight color correction system, which enables real-time digital manipulation of motion picture imagery during the digital intermediate process.

Baselight was one of the first digital color correction systems to enter the digital intermediate market and has seen wide acceptance in the motion picture industry.

[Laboratory]

To MARK JASZBERENYI, GYULA PRISKIN and TAMAS PERLAKI for their contributions to the development of the Lustre color correction system, which enables real-time digital manipulation of motion picture imagery during the digital intermediate process.

Lustre is a software solution that enables non-linear, real-time digital color grading across an entire feature film, emulating the photochemical color-timing process.

[Laboratory]

To BRAD WALKER, D. SCOTT DEWALD, BILL WERNER and GREG PETTITT for their contributions furthering the design and refinement of the Texas Instruments DLP Projector technology, achieving a level of performance that enabled color-accurate digital intermediate previews of motion pictures.

Working in conjunction with the film industry, Texas Instruments created a high-resolution, color-accurate, high-quality digital intermediate projection system that could closely emulate film-based projection in a theatrical environment.

[Projection]

To FUJIFILM CORPORATION, RYOJI NISHIMURA, MASAAKI MIKI and YOUICHI HOSOYA for the design and development of Fujicolor ETERNA-RDI digital intermediate film, which was designed exclusively to reproduce motion picture digital masters.

The Fujicolor ETERNA-RDI Type 8511/4511 digital intermediate film has thinner emulsion layers with extremely efficient couplers made possible by Super-Nano Cubic Grain Technology. This invention allows improved color sensitivity with the ability to absorb scattered light, providing extremely sharp images. The ETERNA-RDI emulsion technology also achieves less color cross-talk for exacting reproduction. Its expanded latitude and linearity provides superior highlights and shadows in a film stock with exceptional latent image stability.

[Film]

To PAUL DEBEVEC, TIM HAWKINS, JOHN MONOS and DR. MARK SAGAR for the design and engineering of the Light Stage capture devices and the image-based facial rendering system developed for character relighting in motion pictures.

The combination of these systems, with their ability to capture high fidelity reflectance data of human subjects, allows for the creation of photorealistic digital faces as they would appear in any lighting condition.

[Digital Imaging Technology]

SCIENTIFIC AND TECHNICAL AWARD (Technical Achievement Award)

To MARK WOLFORTH and TONY SEDIVY for their contributions to the development of the Truelight real-time 3D look-up table hardware system.

Through the use of color management software and hardware, this complete system enables accurate color presentation in the digital intermediate preview process. The Truelight system is widely utilized in digital intermediate production environments around the world.

[Laboratory]

To DR. KLAUS ANDERLE, CHRISTIAN BAEKER and FRANK BILLASCH for their contributions to the LUTher 3D look-up table hardware device and color management software.

The LUTher system was one of the first color look-up table processors to be widely adopted by the pioneering digital intermediate facilities in the industry. This innovation enabled accurate color presentation by facilities that had analyzed projected film output and built 3D look-up tables in order to emulate print film.

[Laboratory]

To STEVE SULLIVAN, KEVIN WOOLEY, BRETT ALLEN and COLIN DAVIDSON for the development of the Imocap on-set performance capture system.

Developed at Industrial Light & Magic and consisting of custom hardware and software, Imocap is an innovative system that successfully addresses the need for on-set, low-impact performance capture.

[Digital Imaging Technology]

To HAYDEN LANDIS, KEN McGAUGH and HILMAR KOCH for advancing the technique of ambient occlusion rendering.

Ambient occlusion has enabled a new level of realism in synthesized imagery and has become a standard tool for computer graphics lighting in motion pictures.

[Digital Imaging Technology]

To BJÖRN HEDÉN for the design and mechanical engineering of the silent, two-stage planetary friction drive Hedén Lens Motors.

Solving a series of problems with one integrated mechanism, this device had an immediate and significant impact on the motion picture industry.

[Photography]

2010 (83rd)

SCIENTIFIC AND TECHNICAL AWARD (Scientific and Engineering Award)

To DR. MARK SAGAR for his early and continuing development of influential facial motion retargeting solutions.

Dr. Sagar's work led to a method for transforming facial motion capture data into an expression-based, editable character animation system that has been used in motion pictures with a high volume of digital characters.

[Digital Imaging Technology]

To MARK NOEL for the design, engineering, and development, and to JOHN FRAZIER for his contributions to the design and safety features, of the NAC Servo Winch System.

The NAC System allows full-size cars, aircraft and other heavy props to be flown on wires with unprecedented freedom of motion and a high degree of safety, on-set and in real time. The intuitive control system responds to the motion of the operator's hand, permitting the recording and playback of all axes of motion simultaneously, which may be edited and refined for playback in subsequent takes.

[Stage Operations]

To JAMES RODNUNSKY, ALEX MacDONALD and MARK CHAPMAN for the development of the Cablecam 3-D volumetric suspended cable camera technologies.

The evolution of the Cablecam technology has made it possible to move a camera safely and accurately anywhere through a three-dimensional space.

[Camera Cranes]

To TIM DRNEC, BEN BRITTEN SMITH and MATT DAVIS for the development of the Spydercam 3-D volumetric suspended cable camera technologies.

The evolution of the Spydercam technology has made it possible to move a camera safely and accurately anywhere through a three-dimensional space.

[Camera Cranes]

SCIENTIFIC AND TECHNICAL AWARD (Technical Achievement Award)

To GREG ERCOLANO for the design and engineering of a series of software systems culminating in the Rush render queue management system.

Mr. Ercolano's work has been influential across the industry, and has enabled scalable render farms at numerous studios.

[Digital Imaging Technology]

To DAVID M. LAUR for the development of the Alfred render queue management system.

This system was the first robust, scalable, widely adopted commercial solution for queue management in the motion picture industry. Its user interface and support for multi-machine assignment influenced the design of modern day queue management tools.

[Digital Imaging Technology]

To CHRIS ALLEN, GAUTHAM KRISHNAMURTI, MARK A. BROWN and LANCE KIMES for the development of Queue, a robust, scalable approach to render queue management.

Queue was one of the first systems that allowed for statistical analysis and process introspection, providing a framework for the efficient use of render farms.

[Digital Imaging Technology]

To FLORIAN KAINZ for the design and development of the robust, highly scalable distributed architecture of the ObaQ render queue management system.

ObaQ has scaled from managing a few hundred processors in 1997 to many thousands today, with minimal changes to the original design.

[Digital Imaging Technology]

To ERIC TABELLION and ARNAULD LAMORLETTE for the creation of a computer graphics bounce lighting methodology that is practical at feature film scale.

This important step in the evolution of global illumination techniques, first used on the motion picture "Shrek 2," was shared with the industry in their technical paper "An Approximate Global Illumination System for Computer Generated Films."

[Digital Imaging Technology]

To TONY CLARK, ALAN ROGERS, NEIL WILSON and RORY McGREGOR for the software design and continued development of cineSync, a tool for remote collaboration and review of visual effects.

Easy to use, cineSync has become a widely accepted solution for remote production collaboration.

[Systems]

JOHN A. BONNER MEDAL OF COMMENDATION

To Denny Clairmont in appreciation for outstanding service and dedication in upholding the high standards of the Academy of Motion Picture Arts and Sciences.

2011 (84th)

GORDON E. SAWYER AWARD

Douglas Trumbull

SCIENTIFIC AND TECHNICAL AWARD (Academy Award of Merit)

To FRANZ KRAUS, JOHANNES STEURER and WOLFGANG RIEDEL for the design and development of the ARRILASER Film Recorder.

The ARRILASER film recorder demonstrates a high level of engineering resulting in a compact, user-friendly, low-maintenance device, while at the same time maintaining outstanding speed, exposure ratings and image quality.

[Special Photographic]

SCIENTIFIC AND TECHNICAL AWARD (Scientific and Engineering Award)

To RADU CORLAN, ANDY JANTZEN, PETRU POP and RICHARD F. TOFTNESS for the design and engineering of the Phantom family of high-speed cameras for motion picture production.

The Phantom family of high-speed digital cameras, including the Phantom Flex and HD Gold, provide imagery at speeds and efficacy surpassing photochemical technology, while seamlessly intercutting with conventional film production.

[Camera]

To DR. JÜRGEN NOFFKE for the optical design and UWE WEBER for the mechanical design of the ARRI Zeiss Master Prime Lenses for motion picture photography.

The Master Primes have achieved a full stop advance in speed over existing lenses, while maintaining state-of-the-art optical quality. This lens family was also the first to eliminate the magnification change that accompanied extreme focus shifts.

[Lenses and Filters]

To MICHAEL LEWIS, GREG MARSDEN, RAIGO ALAS and MICHAEL VELLEKOOP for the concept, design and implementation of the Pictorvision Eclipse, an electronically stabilized aerial camera platform.

The Pictorvision Eclipse system allows cinematographers to capture aerial footage at faster flying speeds with aggressive platform maneuvering.

[Camera Cranes]

To E.F. "BOB" NETTMANN for the concept and system architecture, MICHAEL SAYOVITZ for the electronic packaging and integration, BRAD FRITZEL for the electronic engineering, and FRED MILLER for the mechanical engineering of the Stab-C Classic, Super-G and Stab-C Compact stabilizing heads.

This versatile family of 5-axis camera and lens stabilizers allows any standard motion picture camera to be fitted into the open architecture of the structure. The system can be quickly balanced and made ready for shooting platforms such as helicopters, boats, camera cars or cranes.

[Camera Cranes]

To JOHN D. LOWRY, IAN CAVÉN, IAN GODIN, KIMBALL THURSTON and TIM CONNOLLY for the development of a unique and efficient system for the reduction of noise and other artifacts, thereby providing high-quality images required by the filmmaking process.

The "Lowry Process" uses advanced GPU-accelerated, motion estimation-based image processing tools to enhance image quality.

[Laboratory]

To FUJIFILM CORPORATION, HIDEYUKI SHIRAI, DR. KATSUHISA OOZEKI and HIROSHI HIRANO for the design and development of the FUJIFILM black and white recording film ETERNA-RDS 4791 for use in the archival preservation of film and digital images.

Specifically designed for laser film recording and widely used in the industry today, the high-resolution FUJIFILM ETERNA-RDS 4791 film stock is an important step in protecting the heritage of the motion picture industry.

[Film]

SCIENTIFIC AND TECHNICAL AWARD (Technical Achievement Award)

To ANDREW CLINTON and MARK ELENDT for the invention and integration of micro-voxels in the Mantra software.

This work allowed, for the first time, unified and efficient rendering of volumetric effects such as smoke and clouds, together with other computer graphics objects, in a micro-polygon imaging pipeline.

[Digital Imaging Technology]

JOHN A. BONNER MEDAL OF COMMENDATION

To Jonathan Erland in appreciation for outstanding service and dedication in upholding the high standards of the Academy of Motion Picture Arts and Sciences.

2012 (85th)

SCIENTIFIC AND TECHNICAL AWARD (Academy Award of Merit)

To COOKE OPTICS LIMITED for their continuing innovation in the design, development and manufacture of advanced camera lenses that have helped define the look of motion pictures over the last century.

Since their first series of motion picture lenses, Cooke Optics has continued to create optical innovations decade after decade. Producing what is commonly referred to as the "Cooke Look," these lenses have often been the lens of choice for creative cinematographers worldwide.

[Lenses and Filters]

SCIENTIFIC AND TECHNICAL AWARD (Scientific and Engineering Award)

To SIMON CLUTTERBUCK, JAMES JACOBS and DR. RICHARD DORLING for the development of the Tissue Physically-Based Character Simulation Framework.

This framework faithfully and robustly simulates the effects of anatomical structures underlying a character's skin. The resulting dynamic and secondary motions provide a new level of realism to computer-generated creatures.

[Digital Imaging Technology]

To DR. PHILIP McLAUCHLAN, ALLAN JAENICKE, JOHN-PAUL SMITH and ROSS SHAIN for the creation of the Mocha planar tracking and rotoscoping software at Imagineer Systems Ltd.

Mocha provides robust planar-tracking even when there are no clearly defined points in the image. Its effectiveness, ease of use, and ability to exchange rotoscoping data with other image processing tools have resulted in widespread adoption of the software in the visual effects industry.

[Digital Imaging Technology]

To JOE MURTHA, WILLIAM FREDERICK and JIM MARKLAND of Anton/Bauer, Inc. for the design and creation of the CINE VCLX Portable Power System.

The CINE VCLX provides extended run-times and flexibility, allowing users to power cameras and other supplementary equipment required for production. This high-capacity battery system is also matched to the high-demand, always-on digital cinema cameras.

[Systems]

SCIENTIFIC AND TECHNICAL AWARD (Technical Achievement Award)

To J.P. LEWIS, MATT CORDNER and NICKSON FONG for the invention and publication of the Pose Space Deformation technique.

Pose Space Deformation (PSD) introduced the use of novel sparse data interpolation techniques to the task of shape interpolation. The controllability and ease of achieving artistic intent have led to PSD being a foundational technique in the creation of computer-generated characters.

[Digital Imaging Technology]

To LAWRENCE KESTELOOT, DREW OLBRICH and DANIEL WEXLER for the creation of the Light system for computer graphics lighting at PDI/DreamWorks.

Virtually unchanged from its original incarnation over 15 years ago, Light is still in continuous use due to its emphasis on interactive responsiveness, final-quality interactive render preview, scalable architecture and powerful user-configurable spreadsheet interface.

[Digital Imaging Technology]

To STEVE LaVIETES, BRIAN HALL and JEREMY SELAN for the creation of the Katana computer graphics scene management and lighting software at Sony Pictures Imageworks.

Katana's unique design, featuring a deferred evaluation procedural node-graph, provides a highly efficient lighting and rendering workflow. It allows artists to non-destructively edit scenes too complex to fit into computer memory, at scales ranging from a single object up to an entire detailed city.

[Digital Imaging Technology]

To THEODORE KIM, NILS THUEREY, DR. MARKUS GROSS and DOUG JAMES for the invention, publication and dissemination of Wavelet Turbulence software.

This technique allowed for fast, art-directable creation of highly detailed gas simulation, making it easier for the artist to control the appearance of these effects in the final image.

[Digital Imaging Technology]

To RICHARD MALL for the design and development of the Matthews Max Menace Arm.

Highly sophisticated and well-engineered, the Max Menace Arm is a safe and adjustable device that allows rapid, precise positioning of lighting fixtures, cameras or accessories. On-set or on location, this compact and highly portable structure is often used where access is limited due to restrictions on attaching equipment to existing surfaces.

[Stage Operations]

JOHN A. BONNER MEDAL OF COMMENDATION

To Bill Taylor in appreciation for outstanding service and dedication in upholding the high standards of the Academy of Motion Picture Arts and Sciences.

2013 (86th)

GORDON E. SAWYER AWARD

Peter W. Anderson

SCIENTIFIC AND TECHNICAL AWARD (Academy Award of Merit)

To all those who built and operated film laboratories, for over a century of service to the motion picture industry.

Lab employees have contributed extraordinary efforts to achieve filmmakers' artistic expectations for special film processing and the production of billions of feet of release prints per year. This work has allowed an expanded motion picture audience and unequaled worldwide cinema experience.

[Special Photographic]

SCIENTIFIC AND TECHNICAL AWARD (Scientific and Engineering Award)

To OFER ALON for the design and implementation of the ZBrush software tool for multi-resolution sculpting of digital models.

ZBrush pioneered multi-resolution digital sculpting, transforming how artists conceive and realize their final designs. ZBrush has enabled artists to create models far more quickly and with much greater detail than previous approaches.

[Digital Imaging Technology]

To ERIC VEACH for his foundational research on efficient Monte Carlo path tracing for image synthesis.

Physically based rendering has transformed computer graphics lighting by more accurately simulating materials and lights, allowing digital artists to focus on cinematography rather than the intricacies of rendering. In his 1997 Ph.D. thesis and related publications, Veach formalized the principles of Monte Carlo path tracing and introduced essential optimization techniques, such as multiple importance sampling, which make physically based rendering computationally feasible.

[Digital Imaging Technology]

To ANDRE GAUTHIER, BENOIT SEVIGNY, YVES BOUDREAULT and ROBERT LANCIAULT for the design and implementation of the FiLMBOX software application.

FiLMBOX, the foundation of MotionBuilder, enables the real-time processing and control of devices and animation. For over two decades, its innovative architecture has been a basis for the development and evolution of new techniques in filmmaking, such as virtual production.

[Digital Imaging Technology]

To EMMANUEL PRÉVINAIRE, JAN SPERLING, ETIENNE BRANDT and TONY POSTIAU for their development of the Flying-Cam SARAH 3.0 system.

This battery-powered, radio-controlled, miniature helicopter camera system employs computer-assisted piloting and tele-operation in an airframe that utilizes GPS-assisted flight controls for aerial filming of unparalleled sophistication. Flying-Cam SARAH achieves shots impossible for full-size helicopters, cable systems or other traditional camera support devices.

[Photography]

SCIENTIFIC AND TECHNICAL AWARD (Technical Achievement Award)

To OLIVIER MAURY, IAN SACHS and DAN PIPONI for the creation of the ILM Plume system that simulates and renders fire, smoke and explosions for motion picture visual effects.

The unique construction of this system combines fluid solving and final image rendering on the GPU (Graphics Processing Unit) hardware without needing an intermediate step involving the CPU. This innovation reduces turnaround time, resulting in significant efficiency gains for the ILM effects department.

[Digital Imaging Technology]

To RONALD D. HENDERSON for the development of the FLUX gas simulation system.

The use of the Fast Fourier Transform for solving partial differential equations allows FLUX a greater level of algorithmic efficiency when multi-threading on modern hardware. This innovation enables the creation of very high-resolution fluid effects while maintaining fast turnaround times.

[Digital Imaging Technology]

To ANDREW CAMENISCH, DAVID CARDWELL and TIBOR MADJAR for the concept and design, and to CSABA KOHEGYI and IMRE MAJOR for the implementation of the Mudbox software.

Mudbox provides artists powerful new design capabilities that significantly advance the state of the art in multi-resolution digital sculpting for film production.

[Digital Imaging Technology]

To MARTIN HILL, JON ALLITT and NICK McKENZIE for the creation of the spherical harmonics-based efficient lighting system at Weta Digital.

The spherical harmonics lighting pipeline precomputes and reuses a smooth approximation of time-consuming visibility calculations. This enables artists to quickly see the results of changing lights, materials and set layouts in scenes with extremely complex geometry.

[Digital Imaging Technology]

To FLORIAN KAINZ, JEFFERY YOST, PHILIP HUBBARD and JIM HOURIHAN for the architecture and development of the Zeno application framework.

For more than a decade, Zeno's flexible and robust design has allowed the creation of a broad range of Academy Award-winning visual effects toolsets at ILM.

[Digital Imaging Technology]

To PETER HUANG and CHRIS PERRY for their architectural contributions to, and to HANS RIJPKEMA and JOE MANCEWICZ for the core engineering of, the Voodoo application framework.

For more than a decade, Voodoo's unique design concepts have enabled a broad range of character animation toolsets to be developed at Rhythm & Hues.

[Digital Imaging Technology]

To MATT PHARR, GREG HUMPHREYS and PAT HANRAHAN for their formalization and reference implementation of the concepts behind physically based rendering, as shared in their book "Physically Based Rendering."

Physically based rendering has transformed computer graphics lighting by more accurately simulating materials and lights, allowing digital artists to focus on cinematography rather than the intricacies of rendering. First published in 2004, "Physically Based Rendering" is both a textbook and a complete source-code implementation that has provided a widely adopted practical roadmap for most physically based shading and lighting systems used in film production.

[Digital Imaging Technology]

To DR. PETER HILLMAN for the long-term development and continued advancement of innovative, robust and complete toolsets for deep compositing.

Dr. Hillman's ongoing contributions to standardized techniques and a common deep image file format have enabled advanced compositing workflows across the digital filmmaking industry.

[Digital Imaging Technology]

To COLIN DONCASTER, JOHANNES SAAM, AREITO ECHEVARRIA, JANNE KONTKANEN and CHRIS COOPER for the development, prototyping and promotion of technologies and workflows for deep compositing.

Their contributions include early advancements in key deep compositing features such as layer and holdout-order independence, spatial and intra-element color correction, post-render depth of field, and precise blending of complex layer edges.

[Digital Imaging Technology]

To THOMAS LOKOVIC and ERIC VEACH for their influential research and publication of the fundamental concepts of deep shadowing technology.

Providing a functional and efficient model for the storage of deep opacity information, this technology was widely adopted as the foundation of early deep compositing pipelines.

[Digital Imaging Technology]

To GIFFORD HOOPER and PHILIP GEORGE of HoverCam for the continuing development of the Helicam miniature helicopter camera system.

The current Helicam system is a high-speed, extremely maneuverable, turbine-engine, radio-controlled miniature helicopter that supports professional film and digital cinema cameras. Helicam provides a wide range of stabilized, remotely operated pan, tilt and roll capabilities, achieving shots impossible for full-size helicopters.

[Photography]

To JOHN FRAZIER, CHUCK GASPAR and CLAY PINNEY for the design and development of the Pneumatic Car Flipper.

This self-contained high-pressure pneumatic device safely launches a stationary full-sized car on a predetermined trajectory. The precision of operation enhances the safety of performers, and the physical design allows a rapid setup and strike.

[Stage Operations]

To JOSHUA PINES, DAVID REISNER, LOU LEVINSON, CURTIS CLARK, ASC, and DAVID REGISTER for the development of the American Society of Cinematographers Color Decision List technology.

The ASC CDL unifies color correction principles for use on- and off-set, providing for the faithful reproduction of color values across a variety of color correction devices. This technology provides basic image-processing mathematics that translate the lift, gamma and gain settings to a set of common color values to help preserve the cinematographer's intent throughout production.

[Systems]

To JEREMY SELAN for the development of the OpenColorIO color management framework.

OpenColorIO, developed at Sony Pictures Imageworks, is an open source framework that enables consistent color visualization of motion picture imagery across multiple facilities and numerous software applications.

[Digital Imaging Technology]

JOHN A. BONNER MEDAL OF COMMENDATION

To Charles "Tad" Marburg in appreciation for outstanding service and dedication in upholding the high standards of the Academy of Motion Picture Arts and Sciences.

2014 (87th)

GORDON E. SAWYER AWARD

David Winchester Gray

SCIENTIFIC AND TECHNICAL AWARD (Academy Award of Merit)

To DR. LARRY HORNBECK for the invention of digital micromirror technology as used in DLP Cinema projection.

The Digital Micromirror Device (DMD) is the core technology that has enabled Texas Instruments' DLP Cinema projection to become the standard of the motion picture industry.

[Digital Apparatuses Technology]

SCIENTIFIC AND TECHNICAL AWARD (Scientific and Engineering Award)

To IAIN NEIL for the optical design, and to ANDRÉ DE WINTER for the mechanical design, of the Leica Summilux-C series of lenses.

Incorporating novel telecentric multi-element aspherical optics, these camera lenses have delivered unprecedented optical and mechanical performance.

[Lenses and Filters]

To BRAD WALKER, D. SCOTT DEWALD, BILL WERNER, GREG PETTITT and FRANK PORADISH for their contributions furthering the design and refinement of the Texas Instruments DLP Cinema projection technology, whose high level of performance enabled color-accurate digital intermediate preview and motion picture theatrical presentation.

Working in conjunction with the film industry, Texas Instruments created a high-resolution, high-quality digital projection system that has replaced most film-based projection systems in the theatrical environment.

[Digital Apparatuses Technology]

To ICHIRO TSUTSUI, MASAHIRO TAKE, MITSUYASU TAMURA and MITSURU ASANO for the development of the Sony BVM-E Series Professional OLED Master Monitor.

These precise, wide-gamut monitors allow creative image decisions to be made on set with confidence that the desired images can be accurately reproduced in post-production.

[Digital Apparatuses Technology]

To JOHN FREDERICK, BOB MYERS, KARL RASCHE and TOM LIANZA for the development of the HP DreamColor LP2480zx Professional Display.

This cost-effective display offered a stable, wide color gamut, allowing facility-wide adoption in feature animation and visual effects studios.

[Digital Apparatuses Technology]

SCIENTIFIC AND TECHNICAL AWARD (Technical Achievement Award)

To PETER BRAUN for the concept and development of the MAT-Towercam Twin Peek, a portable, remote-controlled, telescoping column that smoothly positions a camera up to 24 feet vertically.

This small cross-section system from Mad About Technology can operate from above or below the camera, achieving nearly impossible shots with repeatable movements through openings no larger than the camera itself.

[Camera Cranes]

To ROBERT NAGLE and ALLAN PADELFORD for The Biscuit Jr. self-propelled, high-performance, drivable camera and vehicle platform.

The Biscuit Jr.'s unique chassis and portable driver pod enables traveling photography from a greater range of camera positions than previously possible, while keeping actors safe and the rig out of frame.

[Camera Cranes]

To HAROLD MILLIGAN, STEVEN KRYCHO and REINER DOETZKIES for the implementation engineering in the development of the Texas Instruments DLP Cinema digital projection technology.

Texas Instruments' color-accurate, high-resolution, high-quality digital projection system has replaced most film-based projection systems in the theatrical environment.

[Digital Apparatuses Technology]

To CARY PHILLIPS, NICOLAS POPRAVKA, PHILIP PETERSON and COLETTE MULLENHOFF for the architecture, development and creation of the artist-driven interface of the ILM Shape Sculpting System.

This comprehensive system allows artists to quickly enhance and modify character animation and simulation performances. It has become a crucial part of ILM's production workflow over the past decade.

[Digital Imaging Technology]

To TIM COTTER, ROGER VAN DER LAAN, KEN PEARCE and GREG LaSALLE for the innovative design and development of the MOVA Facial Performance Capture system.

The MOVA system provides a robust way to capture highly detailed, topologically consistent, animated meshes of a deforming object. This technology is fundamental to the facial pipeline at many visual effects companies. It allows artists to create character animation of extremely high quality.

[Digital Imaging Technology]

To DAN PIPONI, KIM LIBRERI and GEORGE BORSHUKOV for their pioneering work in the development of Universal Capture at ESC Entertainment.

The Universal Capture system broke new ground in the creation of realistic human facial animation. This technology produced an animated, high-resolution, textured mesh driven by an actor's performance.

[Digital Imaging Technology]

To MARCO REVELANT for the original concepts and artistic vision, and to ALASDAIR COULL and SHANE COOPER for the original architectural and engineering design, of the Barbershop hair grooming system at Weta Digital.

Barbershop's unique architecture allows direct manipulation of full-density hair using an intuitive, interactive and procedural toolset, resulting in greatly enhanced productivity with finer-grained artistic control than is possible with other existing systems.

[Digital Imaging Technology]

To MICHAEL SECHREST for the modeling design and implementation, CHRIS KING for the real-time interactive engineering, and GREG CROFT for the user interface design and implementation of SpeedTree Cinema.

This software substantially improves an artist's ability to create specifically designed trees and vegetation by combining a procedural building process with the flexibility of intuitive, direct manipulation of every detail.

[Digital Imaging Technology]

To SCOTT PETERSON, JEFF BUDSBERG and JONATHAN GIBBS for the design and implementation of the DreamWorks Animation Foliage System.

This toolset has a hierarchical spline system, a core data format and an artist-driven modeling tool, which have been instrumental in creating art-directed vegetation in animated films for nearly two decades.

[Digital Imaging Technology]

To ERWIN COUMANS for the development of the Bullet physics library, and to NAFEES BIN ZAFAR and STEPHEN MARSHALL for the separate development of two large-scale destruction simulation systems based on Bullet.

These pioneering systems demonstrated that large numbers of constrained rigid bodies could be used to animate visually complex, believable destruction effects with minimal simulation time.

[Digital Imaging Technology]

To BRICE CRISWELL and RON FEDKIW for the development of the ILM PhysBAM Destruction System.

This system incorporates innovative research on many algorithms that provide accurate methods for resolving contact, collision and stacking into a mature, robust and extensible production toolset. The PhysBAM Destruction System was one of the earliest toolsets capable of depicting large-scale destruction with a high degree of design control.

[Digital Imaging Technology]

To BEN COLE for the design of the Kali Destruction System, to ERIC PARKER for the development of the Digital Molecular Matter toolkit, and to JAMES O'BRIEN for his influential research on the finite element methods that served as a foundation for these tools.

The combined innovations in Kali and DMM provide artists with an intuitive, art-directable system for the creation of scalable and realistic fracture and deformation simulations. These tools established finite element methods as a new reference point for believable on-screen destruction.

[Digital Imaging Technology]

To MAGNUS WRENNINGE for leading the design and development of Field3D.

Field3D provides a flexible and open framework for storing and accessing voxel data efficiently. This allows interchange between previously incompatible modeling, simulation and rendering software.

[Digital Imaging Technology]

To ROBERT BRIDSON for early conceptualization of sparse-tiled voxel data structures and their application to modeling and simulation.

Robert Bridson's pioneering work on voxel data structures and its subsequent validation in fluid simulation tools have had a significant impact on the design of volumetric tools throughout the visual effects industry.

[Digital Imaging Technology]

To KEN MUSETH, PETER CUCKA and MIHAI ALDÉN for the creation of OpenVDB.

OpenVDB is a widely adopted, sparse hierarchical data structure that provides a fast and efficient mechanism for storing and manipulating voxels.

[Digital Imaging Technology]

AWARD OF COMMENDATION

To Steven Tiffen, Jeff Cohen and Michael Fecik for their pioneering work in developing dye-based filters that reduce IR contamination when neutral density filters are used with digital cameras.

The Tiffen Company identified the problem and rapidly engineered a series of absorptive filters that ameliorated infrared artifacts with lenses of all focal lengths. These widely adopted filters allow cinematographers to work as they have done with film-based technology.

2015 (88th)

SCIENTIFIC AND TECHNICAL AWARD (Scientific and Engineering Award)

To BRIAN McLEAN and MARTIN MEUNIER for pioneering the use of rapid prototyping for character animation in stop-motion film production.

LAIKA's inventive use of rapid prototyping has enabled artistic leaps in character expressiveness, facial animation, motion blur and effects animation. Through highly specialized pipelines and techniques, 3D printing capabilities have been harnessed with color uniformity, mechanical repeatability, and the scale required to significantly enhance stop-motion animated feature films.

[Digital Imaging Technology]

To JACK GREASLEY, KIYOYUKI NAKAGAKI, DUNCAN HOPKINS and CARL RAND for the design and engineering of the MARI 3D texture painting system.

Combining powerful, multilayer painting tools and a unique texture-management system, MARI simplifies working with large, high-resolution texture sets. It has achieved broad adoption in the visual effects industry, often supplanting long-term in-house systems.

[Digital Imaging Technology]

SCIENTIFIC AND TECHNICAL AWARD (Technical Achievement Award)

To MICHAEL JOHN KEESLING for the design and development of Image Shaker, an optical system that convincingly creates the illusion of the camera shaking in a variable and repeatable manner.

The Image Shaker was unique and superior to alternatives in use when it was invented two decades ago, and it continues to be used today.

[Special Photographic]

To DAVID McINTOSH, STEVE SMITH, MIKE BRANHAM and MICHAEL KIRILENKO for the engineering and development of the Aircover Inflatables Airwall.

This system of modular inflatable panels can be erected on location, at lengths reaching hundreds of feet, with exceptional speed and safety. When used to support blue or green screens, the Airwall permits composite shots of unprecedented scale.

[Stage Operations]

To TREVOR DAVIES, THOMAS WAN, JON SCOTT MILLER, JARED SMITH and MATTHEW ROBINSON for the development of the Dolby Laboratories PRM Series Reference Color Monitors.

The PRM's pioneering and innovative design allows the stable, accurate representation of images with the entire luminance range and color gamut used in contemporary theatrical feature presentation.

[Digital Apparatuses Technology]

To RONALD MALLET and CHRISTOPH BREGLER for the design and engineering of the Industrial Light & Magic Geometry Tracker, a novel, general-purpose tracker and solver.

Geometry Tracker facilitates convincing interaction of digital and live-action elements within a scene. Its precise results and tight integration with other ILM animation technologies solve a wider range of match-animation challenges than was previously possible.

[Digital Imaging Technology]

To JIM HOURIHAN, ALAN TROMBLA and SETH ROSENTHAL for the design and development of the Tweak Software RV system, a highly extensible media player system.

RV's multi-platform toolset for review and playback, with comprehensive APIs, has allowed studios of all sizes to take advantage of a state-of-the-art workflow and has achieved widespread adoption in the motion picture industry.

[Digital Imaging Technology]

To RICHARD CHUANG and RAHUL C. THAKKAR for the groundbreaking design, and to ANDREW PILGRIM, STEWART BIRNAM and MARK KIRK for the review workflows and advanced playback features, of the DreamWorks Animation Media Review System.

Over its nearly two decades of development, this pioneering system enabled desktop and digital theater review. It continues to provide artist-driven, integrated, consistent and highly scalable studio-wide playback and interactive reviews.

[Digital Imaging Technology]

To KEITH GOLDFARB, STEVE LINN, BRIAN GREEN and RAYMOND CHIH for the development of the Rhythm & Hues Global DDR System.

This consistent, integrated, production database-backed review system enables a recordable workflow and an efficient, collaborative content review process across multiple sites and time zones.

[Digital Imaging Technology]

To J ROBERT RAY, COTTALANGO LEON and SAM RICHARDS for the design, engineering and continuous development of Sony Pictures Imageworks Itview.

With an extensive plugin API and comprehensive facility integration including editorial functions, Itview provides an intuitive and flexible creative review environment that can be deployed globally for highly efficient collaboration.

[Digital Imaging Technology]

SCIENTIFIC AND TECHNICAL AWARD (Special Award)

To the Society of Motion Picture and Television Engineers - For one hundred years, the Society's members have nurtured technology, provided essential standards, and offered the expertise, support, tools and infrastructure for the creation and post-production of motion pictures.

2016 (89th)

SCIENTIFIC AND TECHNICAL AWARD (Scientific and Engineering Award)

To ARRI for the pioneering design and engineering of the Super 35 format Alexa digital camera system.

With an intuitive design and appealing image reproduction, achieved through close collaboration with filmmakers, ARRI's Alexa cameras were among the first digital cameras widely adopted by cinematographers.

To RED DIGITAL CINEMA for the pioneering design and evolution of the RED Epic digital cinema cameras with upgradeable full-frame image sensors.

RED's revolutionary design and innovative manufacturing process have helped facilitate the wide adoption of digital image capture in the motion picture industry.

To SONY for the development of the F65 CineAlta camera with its pioneering high-resolution imaging sensor, excellent dynamic range, and full 4K output.

Sony's unique photosite orientation and true RAW recording deliver exceptional image quality.

To PANAVISION and SONY for the conception and development of the groundbreaking Genesis digital motion picture camera.

Using a familiar form factor and accessories, the design features of the Genesis allowed it to become one of the first digital cameras to be adopted by cinematographers.

To MARCOS FAJARDO for the creative vision and original implementation of the Arnold Renderer, and to CHRISTOPHER KULLA, ALAN KING, THIAGO IZE and CLIFFORD STEIN for their highly optimized geometry engine and novel ray-tracing algorithms which unify the rendering of curves, surfaces, volumetrics and subsurface scattering as developed at Sony Pictures Imageworks and Solid Angle SL.

Arnold's scalable and memory-efficient single-pass architecture for path tracing, its authors' publication of the underlying techniques, and its broad industry acceptance were instrumental in leading a widespread adoption of fully ray-traced rendering for motion pictures.

To VLADIMIR KOYLAZOV for the original concept, design and implementation of V-Ray from Chaos Group.

V-Ray's efficient production-ready approach to ray-tracing and global illumination, its support for a wide variety of workflows, and its broad industry acceptance were instrumental in the widespread adoption of fully ray-traced rendering for motion pictures.

To LUCA FASCIONE, J.P. LEWIS and IAIN MATTHEWS for the design, engineering, and development of the FACETS facial performance capture and solving system at Weta Digital.

FACETS was one of the first reliable systems to demonstrate accurate facial tracking from an actor-mounted camera, combined with rig-based solving, in large-scale productions. This system enables animators to bring the nuance of the original live performances to a new level of fidelity for animated characters.

To STEVEN ROSENBLUTH, JOSHUA BARRATT, ROBERT NOLTY and ARCHIE TE for the engineering and development of the Concept Overdrive motion system.

This user-friendly hardware and software system creates and controls complex interactions of real and virtual motion in hard real-time, while safely adapting to the needs of on-set filmmakers.

SCIENTIFIC AND TECHNICAL AWARD (Technical Achievement Award)

To THOMSON GRASS VALLEY for the design and engineering of the pioneering Viper FilmStream digital camera system.

The Viper camera enabled frame-based logarithmic encoding, which provided uncompressed camera output suitable for importing into existing digital intermediate workflows.

To LARRY GRITZ for the design, implementation and dissemination of Open Shading Language (OSL).

OSL is a highly optimized runtime architecture and language for programmable shading and texturing that has become a de facto industry standard. It enables artists at all levels of technical proficiency to create physically plausible materials for efficient production rendering.

To CARL LUDWIG, EUGENE TROUBETZKOY and MAURICE VAN SWAAIJ for the pioneering development of the CGI Studio renderer at Blue Sky Studios.

CGI Studio's groundbreaking ray-tracing and adaptive sampling techniques, coupled with streamlined artist controls, demonstrated the feasibility of ray-traced rendering for feature film production.

To BRIAN WHITED for the design and development of the Meander drawing system at Walt Disney Animation Studios.

Meander's innovative curve-rendering method faithfully captures the artist's intent, resulting in a significant improvement in creative communication throughout the production pipeline.

To MARK RAPPAPORT for the concept, design and development, to SCOTT OSHITA for the motion analysis and CAD design, to JEFF CRUTS for the development of the faux-hair finish techniques, and to TODD MINOBE for the character articulation and drive-train mechanisms, of the Creature Effects Animatronic Horse Puppet.

The Animatronic Horse Puppet provides increased actor safety, close integration with live action, and improved realism for filmmakers.

To GLENN SANDERS and HOWARD STARK for the design and engineering of the Zaxcom Digital Wireless Microphone System.

The Zaxcom system has advanced the state of wireless microphone technology by creating a fully digital modulation system with a rich feature set, which includes local recording capability within the belt pack and a wireless control scheme providing real-time transmitter control and time-code distribution.

To DAVID THOMAS, LAWRENCE E. FISHER and DAVID BUNDY for the design, development and engineering of the Lectrosonics Digital Hybrid Wireless Microphone System.

The Lectrosonics system has advanced the state of wireless microphone technology by means of an innovative digital predictive algorithm to realize full fidelity audio transmission over a conventional analog FM radio link, by reducing transmitter size, and by increasing power efficiency.

To PARAG HAVALDAR for the development of expression-based facial performance-capture technology at Sony Pictures Imageworks.

This pioneering system enabled large-scale use of animation rig-based facial performance-capture for motion pictures, combining solutions for tracking, stabilization, solving and animator-controllable curve editing.

To NICHOLAS APOSTOLOFF and GEOFF WEDIG for the design and development of animation rig-based facial performance-capture systems at ImageMovers Digital and Digital Domain.

These systems evolved through independent, then combined, efforts at two different studios, resulting in an artist-controllable, editable, scalable solution for the high-fidelity transfer of facial performances to convincing digital characters.

To KIRAN BHAT, MICHAEL KOPERWAS, BRIAN CANTWELL and PAIGE WARNER for the design and development of the ILM facial performance-capture solving system.

This system enables high-fidelity facial performance transfer from actors to digital characters in large-scale productions while retaining full artistic control, and integrates stable rig-based solving and the resolution of secondary detail in a controllable pipeline.

2017 (90th)

GORDON E. SAWYER AWARD

Jonathan Erland

SCIENTIFIC AND TECHNICAL AWARD (Academy Award of Merit)

To MARK ELENDT and SIDE EFFECTS SOFTWARE for the creation and development of the Houdini visual effects and animation system.

With more than twenty years of continual innovation, Houdini has delivered the power of procedural methods to visual effects artists, making it the industry standard for bringing natural phenomena, destruction and other digital effects to the screen.

SCIENTIFIC AND TECHNICAL AWARD (Scientific and Engineering Award)

To JOHN COYLE, BRAD HURNDELL, VIKAS SATHAYE and SHANE BUCKHAM for the concept, design, engineering and implementation of the Shotover K1 Camera System.

This innovative six-axis stabilized aerial camera mount, with its enhanced ability to frame shots while looking straight down, enables greater creative freedom while allowing pilots to fly more effectively and safely.

To JEFF LAIT, MARK TUCKER, CRISTIN BARGHIEL and JOHN LYNCH for their contributions to the design and architecture of the Houdini visual effects and animation system.

Houdini’s dynamics framework and workflow management tools have helped it become the industry standard for bringing natural phenomena, destruction and other digital effects to the screen.

To BILL SPITZAK and JONATHAN EGSTAD for the visionary design, development and stewardship of the Nuke compositing system.

Built for production at Digital Domain, Nuke has become a ubiquitous and flexible tool used across the motion picture industry, enabling novel and sophisticated workflows at an unprecedented scale.

To ABIGAIL BRADY, JON WADELTON and JERRY HUXTABLE for their significant contributions to the architecture and extensibility of the Nuke compositing system.

Expanded as a commercial product at The Foundry, Nuke is a comprehensive, versatile and stable system that has established itself as the backbone of compositing and image processing pipelines across the motion picture industry.

To LEONARD CHAPMAN for the overall concept, design and development, to STANISLAV GORBATOV for the electronic system design, and to DAVID GASPARIAN and SOUHAIL ISSA for the mechanical design and integration of the Hydrascope telescoping camera crane systems.

With its fully waterproof construction, the Hydrascope has greatly advanced crane technology and versatility by enabling precise long-travel multi-axis camera movement in, out of and through fresh or salt water.

SCIENTIFIC AND TECHNICAL AWARD (Technical Achievement Award)

To JASON SMITH and JEFF WHITE for the original design, and to RACHEL MARIE ROSE and MICHAEL JUSTIN LEE JUTAN for the architecture and engineering, of the BlockParty procedural rigging system at Industrial Light & Magic.

BlockParty streamlines the rigging process through a comprehensive connection framework, a novel graphical user interface, and volumetric rig transfer, which has enabled ILM to build richly detailed and unique creatures while greatly improving artist productivity.

To JOE MANCEWICZ, MATT DERKSEN and HANS RIJPKEMA for the design, architecture and implementation of the Rhythm & Hues Construction Kit rigging system.

This toolset provides a novel approach to character rigging that features topological independence, continuously editable rigs and deformation workflows with shape-preserving surface relaxation, enabling fifteen years of improvements to production efficiency and animation quality.

To ALEX POWELL for his contribution to the design and engineering, to JASON REISIG for his contribution to the interaction design, and to MARTIN WATT and ALEX WELLS for their contributions to the high-performance execution engine of the Premo character animation system at DreamWorks Animation.

Premo’s speed and simplicity enable animators to pose full-resolution characters in representative shot context, significantly increasing their productivity.

To ROB JENSEN for the foundational design and continued development, to THOMAS HAHN for the animation toolset, and to GEORGE ELKOURA, ADAM WOODBURY and DIRK VAN GELDER for the high-performance execution engine of the Presto Animation System at Pixar Animation Studios.

Presto allows artists to work interactively in scene context with full-resolution geometric models and sophisticated rig controls, and has significantly increased the productivity of character animators at Pixar.

2018 (91st)

SCIENTIFIC AND TECHNICAL AWARD (Scientific and Engineering Award)

To DAVID SIMONS, DANIEL WILK, JAMES ACQUAVELLA, MICHAEL NATKIN and DAVID M. COTTER for the design and development of the Adobe After Effects software for motion graphics.

After Effects' pioneering use of consumer hardware to host an application that is extensible, efficient and artist-focused has made it the preeminent motion graphics tool in film production, allowing motion designers to create complex animated elements for title design, screen graphics and fictional user interfaces.

To THOMAS KNOLL and JOHN KNOLL for the original architecture, design and development, and to MARK HAMBURG for his continued development and engineering of Adobe Photoshop.

Photoshop's efficient, extensible architecture, innovative virtual-memory design and powerful layering system introduced a new level of user interactivity, which led to its adoption as the preferred artistic tool for digital painting and image manipulation across the motion picture industry.

To EDWIN CATMULL for the original concept, and to TONY DeROSE and JOS STAM for their pioneering advancement of the underlying science of subdivision surfaces as 3D geometric modeling primitives.

Their creation of essential geometric operations and sustained research on the fundamental mathematics of subdivision surfaces helped transform the way digital artists represent 3D geometry throughout the motion picture industry.

SCIENTIFIC AND TECHNICAL AWARD (Technical Achievement Award)

To ERIC DACHS, ERIK BIELEFELDT, CRAIG WOOD and PAUL McREYNOLDS for the design and development of the PIX System's novel security mechanism for distributing media.

PIX System's robust approach to secure media access has enabled wide adoption of their remotely collaborative dailies-review system by the motion picture industry.

To PER-ANDERS ARVID EDWARDS for the initial design and development of the MoGraph toolset in Cinema 4D for motion graphics.

MoGraph provides a fast, non-destructive and intuitive workflow for motion designers to create animated 3D graphics, as used for title design and fictional user interfaces in motion pictures.

To PAUL THOMAS MILLER for the software design, principal engineering and continued innovation, and to MARCO PAOLINI for the efficient, artist-friendly workflow design of the Silhouette rotoscope and paint system.

Silhouette provides a comprehensive solution for painting, rotoscoping and image manipulation of high-resolution image sequences. Its fast, scalable and extensible architecture has resulted in wide adoption in motion picture post-production.

To PAUL DEBEVEC, TIMOTHY HAWKINS and WAN-CHUN MA for the invention of the Polarized Spherical Gradient Illumination facial appearance capture method, and to XUEMING YU for the design and engineering of the Light Stage X capture system.

Polarized Spherical Gradient Illumination was a breakthrough in facial capture technology allowing shape and reflectance capture of an actor's face with sub-millimeter detail, enabling the faithful recreation of hero character faces. The Light Stage X structure was the foundation for all subsequent innovation and has been the keystone of the method's evolution into a production system.

To THABO BEELER, DEREK BRADLEY, BERND BICKEL and MARKUS GROSS for the conception, design and engineering of the Medusa Performance Capture System.

Medusa captures exceptionally dense animated meshes without markers or makeup, pushing the boundaries of visual fidelity and productivity for character facial performances in motion pictures.

To CHARLES TEORELL LOOP for his influential research on the fundamental scientific properties of subdivision surfaces as 3D geometric modeling primitives.

Loop's 1987 master's thesis, "Smooth Subdivision Surfaces Based on Triangles," together with his subsequent research and publications, extended the theory of subdivision surfaces and inspired further development of methods that transformed the way digital artists represent 3D geometry throughout the motion picture industry.

JOHN A. BONNER MEDAL OF COMMENDATION

To Curtis Clark in recognition of extraordinary service to the motion picture industry.

2019 (92nd)

SCIENTIFIC AND TECHNICAL AWARD (Scientific and Engineering Award)

To DR. ZVI REZNIC, PROFESSOR MEIR FEDER, GUY DORMAN and RON YOGEV for the development of the Amimon wireless chipset, which enables untethered, high-quality on-set, encrypted digital video monitoring with sub-frame latency.

By using novel extensions of digital data transmission and compression algorithms, and data prioritization based on error rate, the Amimon chipset supports the creation of systems with virtually unrestricted camera motion, expanding creative freedom during filming.

To NICOLAAS VERHEEM, GREG SMOKLER and ILYA ISSENIN for the development of the ruggedized Teradek Bolt wireless video transmission system for on-set remote monitoring.

The Teradek Bolt system features a frame-synchronized back channel for real-time camera control, an error-resilient timecode channel and integrated production metadata, which have led to its widespread adoption in motion picture production.

To ALEXEY LUKIN and the TEAM OF MATHEMATICIANS, SOFTWARE ENGINEERS, SOUND DESIGNERS AND PRODUCT SPECIALISTS OF IZOTOPE, INC. for the development of the RX audio processing system.

Featuring spectral processing algorithms enhanced with machine learning, the iZotope RX system is widely favored by motion picture sound professionals for audio repair and enhancement.

To JEFF BLOOM, GUY McNALLY and NICK ROSE for the original concept and engineering of the Wordfit System for automatic ADR synchronization, and to JOHN ELLWOOD and JONATHAN NEWLAND for the engineering and development of VocALign and Revoice Pro.

Wordfit revolutionized the process of post sync ADR by eliminating the need for manual editing to perfect lip sync. VocALign and Revoice Pro are software tools that together give sound editors unprecedented control over the final performance in replaced dialog. In use for many years, these technologies continue their predominance in the creation and seamless integration of replacement dialog tracks in motion pictures.

To SANKEN MICROPHONE COMPANY LIMITED for the original innovation and continuous refinement of the Sanken COS-11 series of miniature lavalier microphones.

Sanken's early engineering work in microphone orientation and miniaturization has inspired the current generation of lavalier microphones. The exceptional sound quality and durability of the COS-11 series have made them the predominant lavalier microphones used in motion picture production sound recording.

SCIENTIFIC AND TECHNICAL AWARD (Technical Achievement Award)

To MASATO NAKASHIMA, KOICHI UENO, JUNJI SAKUDA and JUNRO YONEMITSU for the development of the EIZO auto-calibrating SDR monitors that incorporate a built-in sensor, digital uniformity equalizer and accompanying SDK.

EIZO auto-calibrating SDR monitors increase artists' confidence in facility-wide image reproduction accuracy and reduce disruptions to the creative process and production workflows. They have become indispensable for many major motion picture animation and effects facilities.

To ALEJANDRO ARANGO, GARY MARTINEZ, ROBERT DERRY and GLENN DERRY for the system design, ergonomics, engineering and workflow integration of the widely adopted Technoprops head-mounted camera system.

The Technoprops head-mounted camera system, with its modular and production-proven construction, supports consistent face alignment with improved actor comfort, while at the same time permitting quick reconfiguration and minimizing downtime. This system enables repeatable, accurate and unobstructed capture of an actor's facial movements.

To BABAK BEHESHTI and SCOTT ROBITILLE for the development of the compact, stand-alone, phase-accurate genlock synchronization and recording module, and to IAN KELLY and DEJAN MOMCILOVIC for the technical direction and workflow integration, of the Standard Deviation head-mounted camera system.

The Standard Deviation head-mounted camera system provides a robust method of accurate camera synchronization to the house clock. Combined with practical innovations for usability, it enables multiple head-mounted camera systems to be used in large capture volumes, resulting in adoption by numerous motion picture productions.

To SVEN WOOP and CARSTEN BENTHIN for core development, ATTILA T. ÁFRA for motion picture feature development, and MANFRED ERNST and INGO WALD for early research and technical direction, of the Intel® Embree Ray Tracing Library.

For the past decade, the Intel Embree Ray Tracing Library has provided a high-performance, industry-leading, CPU-based ray-geometry intersection framework through well-engineered open source code, supported by a comprehensive set of research publications. It has become an indispensable resource for motion picture production rendering.

To HAYLEY IBEN, MARK MEYER, JOHN ANDERSON and ANDREW WITKIN for the Taz Hair Simulation System.

Taz is a robust, predictable and efficient mass-spring hair simulation system with novel formulations of hair shape, bending springs and hair-to-hair collisions. It has enabled Pixar artists to bring to life animated digital characters with a wide variety of stylized hair, from straight to wavy to curly.

To STEPHEN BOWLINE for the ILM HairCraft Dynamics System.

The ILM HairCraft Dynamics System has a physically robust hair-dynamics model that simulates hair by embedding curves in tetrahedral mesh volumes. Its unique spring-based control system has helped ILM artists create a wide range of photorealistic digital characters and digital stunt doubles.

To KELLY WARD HAMMEL, ALEKA McADAMS, TOBY JONES, MARYANN SIMMONS and ANDY MILNE for the Walt Disney Animation Studios Hair Simulation System.

The WDAS Hair Simulation System is a robust, predictable, fast and highly art-directable system built on the mathematics of discrete elastic rods. This has provided Disney artists the flexibility to manipulate hair in hyper-realistic ways to create the strong silhouettes required for character animation and has enabled a wide range of complex hairstyles in animated feature films.

To NIALL RYAN, CHRISTOPH SPRENGER and GILLES DAVIET for the Synapse Hair Simulation System.

The Synapse Hair Simulation System is a robust, predictable and highly scalable position-based dynamics system with a novel inverse parameter solver. It has helped Weta Digital artists create a wide range of photorealistic digital characters and digital stunt doubles.

To JENS-JØRN STOKHOLM and OLE MOESMANN for their innovative development of miniature high-performance DPA lavalier microphones.

The DPA 4061 and 4071 lavalier microphones exemplify creative design, precise manufacture and meticulous quality control, resulting in consistent performance and exceptional on-set motion picture audio recording.

To CHRIS COUNTRYMAN and OMER T. INAN for their engineering of the subminiature high-performance Countryman Associates lavalier microphones.

Originated by company founder Carl Countryman (1946-2006), these meticulously crafted subminiature microphones are easily concealed. Their spectral response-shaping filters, cable mounting and capsule design contribute to their wide adoption by motion picture production sound mixers.

To FREDRIK LIMSÄTER, BJÖRN RYDAHL and MATTIAS LAGERGREN for the design, architecture and engineering of ftrack Studio.

An extensible, efficient and intuitive post-production tracking software system, ftrack Studio has enabled small and large studios alike to efficiently schedule and manage complex digital motion picture animation and visual effects.

To DON PARKER for the product vision and design, MATT DAW for the core architecture, and ISAAC REUBEN, COLIN WITHERS and NEIL BRANDT for the foundational engineering, of the Autodesk Shotgun post-production tracking system.

An extensible, web-based, flexible and scalable system, Shotgun has enabled the efficient management of highly complex visual effects and animation post-production workflows. By facilitating deep integration into a wide variety of facility pipelines, Shotgun has successfully productized the tracking of complex production data on large-scale motion pictures.

2022 (95th)

GORDON E. SAWYER AWARD

Iain Neil

SCIENTIFIC AND TECHNICAL AWARD (Scientific and Engineering Award)

To LARRY BARTON for the pioneering design, development and engineering, and to BEN WILCOX for the electronic engineering and software development, of the Cinematography Electronics CineTape.

The CineTape distance measurement system provides focus-pullers with continuous, accurate, real-time distance information to the subject, either at the camera or remotely. This high resolution distance data has enabled the reliable execution of shots that previously were impossible to judge accurately or had required multiple takes to achieve.

To HOWARD PRESTON for the concept, design and engineering, and to BERNIE BUTLER-SMITH for the design and implementation of electronic circuitry and software, of the Preston Cinema Systems Light Ranger 2.

The Light Ranger 2 provides precise real-time focus distance information by continuously tracking subjects in sixteen discrete zones. The distance and depth of field indicators are superimposed on the camera image, enabling the focus-puller to intuitively judge focus, even in formerly impossible and extremely challenging situations.

SCIENTIFIC AND TECHNICAL AWARD (Technical Achievement Award)

To HOWARD JENSEN and DANNY CANGEMI for the concept and creation, and to JOHN FRAZIER for the development of the 60- and 100-foot Rain Bars.

The Rain Bars provide a portable system for the creation of realistic, large-scale, adjustable, practical rain for motion pictures. Their rapid setup and relocation capabilities enable the efficient production of effects ranging from misting drizzles to torrential downpours.

To MARK HILLS and JIM VANNS for the design and engineering of the FQ render farm management system.

FQ’s highly efficient scheduler and sophisticated prioritization algorithms reflect a deep understanding of render farm management. With an architecture that has remained largely unchanged for more than a decade, FQ continues to support substantial growth in computational complexity at Framestore.

To MATT CHAMBERS for his contributions to modern render farm management system design as exemplified in the scheduling architectures of Cue3 and Plow.

These design contributions have resulted in robust, versatile, extensible and highly scalable render farm management systems that have supported substantial growth in computational complexity at Sony Pictures Imageworks and Weta Digital.

To SÉBASTIEN DEGUY and CHRISTOPHE SOUM for the concept and original implementation of Substance Engine, and to SYLVAIN PARIS and NICOLAS WIRRMANN for the design and engineering of Substance Designer.

Adobe Substance 3D Designer provides artists with a flexible and efficient procedural workflow for designing complex textures. Its sophisticated and art-directable pattern generators, intuitive design, and renderer-agnostic architecture have led to widespread adoption in motion picture visual effects and animation.

To DAVID EBERLE, THEODORE KIM, FERNANDO DE GOES and AUDREY WONG for the design and development of the Fizt2 elastic simulation system.

Fizt2 provides a high-performance solver with novel and stable implicit physics and robust collision detection. The design of this system enables artist workflows to easily apply soft-body dynamics to a broad range of interacting animated characters and objects.

AWARD OF COMMENDATION

To Ryan Laney for his innovative adaptation and deployment of AI-driven facial veiling technology used to protect the identities while preserving the visual relatability of subjects in documentary filmmaking as exemplified in Welcome to Chechnya (2020).

2023 (96th)

SCIENTIFIC AND TECHNICAL AWARD (Scientific and Engineering Award)

To CHARLES Q. ROBINSON, NICOLAS TSINGOS, CHRISTOPHE CHABANNE, MARK VINTON and the TEAM OF SOFTWARE, HARDWARE AND IMPLEMENTATION ENGINEERS OF THE CINEMA AUDIO GROUP AT DOLBY LABORATORIES for the creation of the Dolby Atmos Cinema Sound System.

Dolby Atmos has become an industry standard for object-based cinema audio content creation and presents a premier immersive audio experience for theatrical audiences.

To STEVE READ and BARRY SILVERSTEIN for their contributions to the design and development of the IMAX Prismless Laser Projector.

Utilizing a novel optical mirror system, the IMAX Prismless Laser Projector removes prisms from the laser light path to create the high brightness and contrast required for IMAX theatrical presentation.

To PETER JANSSENS, GORAN STOJMENOVIK and WOUTER D’OOSTERLINCK for the design and development of the Barco RGB Laser Projector.

The Barco RGB Laser Projector's novel and modular design with an internally integrated laser light source produces flicker-free uniform image fields with improved contrast and brightness, enabling a widely adopted upgrade path from xenon to laser presentation without the need for alteration to screen or projection booth layout of existing theaters.

To MICHAEL PERKINS, GERWIN DAMBERG, TREVOR DAVIES and MARTIN J. RICHARDS for the design and development of the Christie E3LH Dolby Vision Cinema Projection System, implemented in collaboration between Dolby Cinema and Christie Digital engineering teams.

The Christie E3LH Dolby Vision Cinema Projection System utilizes a novel dual modulation technique that employs cascaded DLP chips along with an improved laser optical path, enabling high dynamic range theatrical presentation.

To KEN MUSETH, PETER CUCKA and MIHAI ALDÉN for the creation of OpenVDB and its ongoing impact within the motion picture industry.

For over a decade, OpenVDB's core voxel data structures, programming interface, file format and rich tools for data manipulation continue to be the standard for efficiently representing complex volumetric effects, such as water, fire and smoke.

To JADEN OH for the concept and development of the Marvelous Designer clothing creation system.

Marvelous Designer introduced a pattern-based approach to digital costume construction, unifying design and visualization and providing a virtual analogy to physical tailoring. Under Jaden Oh's guidance, the team of engineers, UX designers and 3D designers at CLO Virtual Fashion has helped to raise the quality of appearance and motion in digital wardrobe creations.

To F. SEBASTIAN GRASSIA, ALEX MOHR, SUNYA BOONYATERA, BRETT LEVIN and JEREMY COWLES for the design and engineering of Pixar's Universal Scene Description (USD).

USD is the first open-source scene description framework capable of accommodating the full scope of the production workflow across a variety of studio pipelines. Its robust engineering and mature design are exemplified by its versatile layering system and the highly performant crate file format. USD's wide adoption has made it a de facto interchange format of 3D scenes, enabling alignment and collaboration across the motion picture industry.

SCIENTIFIC AND TECHNICAL AWARD (Technical Achievement Award)

To BILL BECK for his pioneering utilization of semiconductor lasers for theatrical laser projection systems.

Bill Beck's advocacy and education to the cinema industry while at Laser Light Engines contributed to the transition to laser projection in theatrical exhibition.

To GREGORY T. NIVEN for his pioneering work in using laser diodes for theatrical laser projection systems.

At Novalux and Necsel, Gregory T. Niven demonstrated and refined specifications for laser light sources for theatrical exhibition, leading the industry's transition to laser cinema projection technology.

To YOSHITAKA NAKATSU, YOJI NAGAO, TSUYOSHI HIRAO, TOMONORI MORIZUMI and KAZUMA KOZURU for their development of laser diodes for theatrical laser projection systems.

Yoshitaka Nakatsu, Yoji Nagao, Tsuyoshi Hirao, Tomonori Morizumi and Kazuma Kozuru collaborated closely with cinema professionals and manufacturers while at Nichia Corporation Laser Diode Division, leading to the development and industry-wide adoption of blue and green laser modules producing wavelengths and power levels matching the specific needs of the cinema market.

To ARNOLD PETERSON and ELIA P. POPOV for their ongoing design and engineering, and to JOHN FRAZIER for the initial concept of the Blind Driver Roof Pod.

The roof pod improves the safety, speed and range of stunt driving, extending the options for camera placement while acquiring picture car footage with talent in the vehicle, leading to rapid adoption across the industry.

To JON G. BELYEU for the design and engineering of Movie Works Cable Cutter devices.

The unique and resilient design of this suite of pyrotechnic cable cutters has made them the preferred method for safe, precise and reliable release of suspension cables for over three decades in motion picture production.

To JAMES EGGLETON and DELWYN HOLROYD for the design, implementation and integration of the High-Density Encoding (HDE) lossless compression algorithm within the Codex recording toolset.

The HDE codec allows productions to leverage familiar and proven camera raw workflows more efficiently by reducing the storage and bandwidth needed for the increased amounts of data from high-photosite-count cameras.

To JEFF LAIT, DAN BAILEY and NICHOLAS AVRAMOUSSIS for the continued evolution and expansion of the feature set of OpenVDB.

Core engineering developments contributed by OpenVDB's open-source community have led to its ongoing success as an enabling platform for representing and manipulating volumetric data for natural phenomena. These additions have helped solidify OpenVDB as an industry standard that drives continued innovation in visual effects.

To OLIVER CASTLE and MARCUS SCHOO for the design and engineering of Atlas, and to KEITH LACKEY for the prototype creation and early development of Atlas.

Atlas's scene description and evaluation framework enables integration of multiple digital content creation tools into a coherent production pipeline. Its plug-in architecture and efficient evaluation engine provide a consistent representation from virtual production through to lighting.

To LUCAS MILLER, CHRISTOPHER JON HORVATH, STEVE LaVIETES and JOE ARDENT for the creation of the Alembic Caching and Interchange system.

Alembic's algorithms for storing and retrieving baked, time-sampled data enable high-efficiency caching across the digital production pipeline and sharing of scenes between facilities. As an open-source interchange library, Alembic has seen widespread adoption by major software vendors and production studios.

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