Fifteen scientific and technical achievements represented by 46 individual award recipients will be honored by the Academy of Motion Picture Arts and Sciences (AMPAS) at the Scientific and Technical Awards Presentation at The Beverly Wilshire on Saturday, February 20.
Scientific and technical achievement is annually awarded on three levels: Academy Award of Merit (Oscar statuette); Scientific and Engineering Award (bronze tablet); and Technical Achievement Award (certificate). This year no Oscar statuettes will be bestowed.
Here’s a rundown of the Scientific and Engineering Award winners:
•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.
•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.
•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.
•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.
•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.
•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.
•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.
•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.
•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.
•And to Paul Debevec, Tim Hawkins, John Monos and 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.
Technical Award Winners
Meanwhile, here’s a rundown of Technical Achievement Award winners:
•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.
•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.
•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.
•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.
•And to Bjorn Heden for the design and mechanical engineering of the silent, two-stage planetary friction drive Heden Lens Motors.
Solving a series of problems with one integrated mechanism, this device had an immediate and significant impact on the motion picture industry.
DGA Spot Nominees: Lance Acord, Kim Gehrig, Tim Heidecker & Eric Wareheim, Andreas Nilsson, Ivan Zacharias
This year’s field of nominees for the Directors Guild of America (DGA) Award recognizing Outstanding Directorial Achievement in Commercials consists of a filmmaker who’s won the honor each of the last two years, another past winner, a five-time nominee, a helmer who’s just picked up his second career nod, and a duo garnering their very first Guild nomination. The latter is the directorial team of Tim Heidecker & Eric Wareheim of production house PRETTYBIRD. The director now going for her third consecutive DGA Award win is Kim Gehrig of Somesuch. The other past winner is Andreas Nilsson of Biscuit Filmworks. Nilsson won the honor in 2016 and now has three career nominations. Lance Acord of Park Pictures just earned his fifth career DGA Award nomination in the commercials category--his four prior nods coming in 2004, 2012, 2013 and 2017. And scoring his second career DGA nod is Ivan Zacharias of SMUGGLER who was previously nominated in 2023. The work Gehrig earned her third straight nomination on the strength of three entries: SiriusXM’s “A Life in Sound” for agency Uncommon; Nike’s “Am I A Bad Person?” for Wieden+Kennedy, and the Apple client-direct spot titled “Find Your Friends.” Nilsson’s latest nomination came for Hennessy’s “Board Game” out of Wieden+Kennedy London; Andrex’s “First Office Poo” for FCB London; the client-direct Apple spot “One More”; and Virgin Media’s “Whizzer” for VCCP London. Acord’s fifth career nod is for Volkswagen’s “An American Love Story” out of agency Johannes Leonardo. Zacharias’ second career nomination is for Apple’s “Flock” out of TBWAMedia Arts Lab. And the duo of Tim Heidecker and Eric Wareheim nabbed their first... Read More