Top Qs
Timeline
Chat
Perspective
Academy Award for Technical Achievement
Film industry honor From Wikipedia, the free encyclopedia
Remove ads
The Technical Achievement Award is one of three Scientific and Technical Awards given from time to time by the Academy of Motion Picture Arts and Sciences. (The other two awards are the Scientific and Engineering Award and the Academy Award of Merit.)[1] The Technical Achievement Award is an honorary award that is given annually to those whose particular technical accomplishments have contributed to the progress of the motion picture industry.[2] The award is a certificate, which describes the achievement and lists the names of those being honored for the particular contribution.[2][3] These awards are usually given at a dinner ceremony held weeks prior to the Academy Awards broadcast and a brief excerpt is shown in the Oscars telecast.
 |
Remove ads
Winners
Summarize
Perspective
The tables below show the honorees as listed in the Academy Awards database.[4]
1930–1950
More information Year, Recipient(s) ...
| Year | Recipient(s) | Department |
|---|---|---|
| 1930/1931 (4th) | Electrical Research Products, Inc., for moving coil microphone transmitters | Sound |
| RKO Radio Pictures, Inc., for reflex type microphone concentrators | Sound | |
| RCA-Photophone, Inc., for ribbon microphone transmitters | Sound | |
| 1931/1932 (5th) | Eastman Kodak Company for its Type II-B Sensitometer | Laboratory |
| 1932/1933 (6th) | Fox Film Corporation, Fred Jackman and Warner Bros. Pictures, Inc., and Sidney Sanders of RKO Studios, Inc., for their development and effective use of the translucent cellulose screen in composite photography | Special Photographic |
| 1934 (7th) | Columbia Pictures Corporation for their application of the Vertical Cut Disc Method (hill and dale recording) to actual studio production, with their recording of the sound on the picture One Night of Love | Sound |
| Bell and Howell Company for their development of the Bell and Howell Fully Automatic Sound and Picture Printer | Laboratory | |
| 1935 (8th) | Metro-Goldwyn-Mayer Studio for the development of anti-directional negative and positive development by means of jet turbulation, and the application of the method to all negative and print processing of the entire product of a major producing company | Laboratory |
| William A. Mueller of Warner Bros.-First National Studio Sound Department for his method of dubbing, in which the level of the dialogue automatically controls the level of the accompanying music and sound effects | Sound | |
| Mole-Richardson Company for their development of the "Solar-spot" spot lamps | Lighting | |
| Douglas Shearer and Metro-Goldwyn-Mayer Studio Sound Department for their automatic control system for cameras and sound recording machines and auxiliary stage equipment | Stage Operations | |
| Electrical Research Products, Inc., for their study and development of equipment to analyze and measure flutter resulting from the travel of the film through the mechanisms used in the recording and reproduction of sound | Sound | |
| Paramount Productions, Inc., for the design and construction of the Paramount transparency air turbine developing machine | Laboratory | |
| Nathan Levinson, Director of Sound Recording for Warner Bros.-First National Studio, for the method of intercutting variable density and variable area soundtracks to secure an increase in the effective volume range of sound recorded for motion pictures. | Sound | |
| 1936 (9th) | RCA Manufacturing Co., Inc., for their development of a method of recording and printing sound records utilizing a restricted spectrum (known as an ultra-violet light recording) | Sound |
| Electrical Research Products, Inc., for the ERPI "Type Q" portable recording channel | Sound | |
| RCA Manufacturing Co., Inc., for furnishing a practical design and specifications for a non-slip printer | Laboratory | |
| United Artists Studio Corp., for the development of a practical, efficient and quiet wind machine. | Stage Operations | |
| 1937 (10th) | John Arnold and the Metro-Goldwyn-Mayer Studio Camera Department for their improvement of the semi-automatic follow focus device and its application to all of the cameras used by the Metro-Goldwyn-Mayer Studio | Photography |
| John Livadary, Director of Sound Recording for Columbia Pictures Corporation, for the application of the bi-planar light valve to motion picture sound recording | Sound | |
| Thomas T. Moulton and the United Artists Studio Sound Department for the application to motion picture sound recording of volume indicators that have peak reading response and linear decibel scales | Sound | |
| RCA Manufacturing Co., Inc., for the introduction of the modulated high-frequency method of determining optimum photographic processing conditions for variable width soundtracks | Laboratory | |
| Joseph E. Robbins and Paramount Pictures, Inc., for an exceptional application of acoustic principles to the soundproofing of gasoline generators and water pumps | Stage Operations | |
| Douglas Shearer and the Metro-Goldwyn-Mayer Studio Sound Department for the design of the film drive mechanism as incorporated in the ERPI 1010 reproducer | Sound | |
| 1938 (11th) | John Aalberg and the RKO Radio Studio Sound Department for the application of compression to variable area recording in motion picture production | Sound |
| Byron Haskin and the Special Effect Department of Warner Bros. Studio for pioneering the development and for the first practical application to motion picture production of the triple head background projector | Special Photographic | |
| 1939 (12th) | George H. Anderson of Warner Bros. Studio for an improved positive head for sun arcs | Lighting |
| John Arnold of Metro-Goldwyn-Mayer Studio for the M-G-M mobile camera crane | Camera Cranes | |
| Thomas T. Moulton, Fred Albin, and the Sound Department of the Samuel Goldwyn Studio for the origination and application of the Delta DB test for sound recording in motion pictures | Laboratory | |
| Farciot Edouart, Joseph E. Robbins, William Rudolph, and Paramount Pictures, Inc., for the design and construction of a quiet portable treadmill | Stage Operations | |
| Emery Huse and Ralph B. Atkinson of the Eastman Kodak Company for their specifications for chemical analysis of photographic developers and fixing baths | Laboratory | |
| Harold Nye of Warner Bros. Studio for a miniature incandescent spot lamp | Lighting | |
| A. J. Tondreau of Warner Bros. Studio for the design and manufacture of an improved soundtrack printer | Laboratory | |
| For important contributions in cooperative development of new improved Process Projection Equipment: F. R. Abbott, Haller Belt, Alan Cook, and the Bausch & Lomb Optical Company for faster projection lenses; The Mitchell Camera Company for a new type process projection head; Mole-Richardson Company for a new type automatically controlled projection arc lamp; Charles Handley, David Joy and the National Carbon Company for improved and more stable high-intensity carbons; Winton Hoch and the Technicolor Motion Picture Corp., for an auxiliary optical system; Don Musgrave and Selznick International Pictures, Inc., for pioneering in the use of coordinated equipment in the production, Gone with the Wind | Special Photographic | |
| 1940 (13th) | Warner Bros. Studio Art Department and Anton Grot for the design and perfection of the Warner Bros. water ripple and wave illusion machine. | Stage Operations |
| 1941 (14th) | Ray Wilkinson and the Paramount Studio Laboratory for pioneering in the use of and for the first practical application to release printing of fine grain positive stock | Film |
| Charles Lootens and the Republic Studio Sound Department for pioneering the use of and for the first practical application to motion picture production of CLASS B push-pull variable area recording | Sound | |
| Wilbur Silvertooth and the Paramount Studio Engineering Department for the design and computation of a relay condenser system applicable to transparency process projection, delivering considerably more usable light | Special Photographic | |
| Paramount Pictures, Inc., and 20th Century Fox Film Corp., for the development and first practical application to motion picture production of an automatic scene slating device | Stage Operations | |
| Douglas Shearer and the Metro-Goldwyn-Mayer Studio Sound Department, and to Loren Ryder and the Paramount Studio Sound Department for pioneering the development of fine grain emulsions for variable density original sound recording in studio production | Sound | |
| 1942 (15th) | Robert Henderson and the Paramount Studio Engineering and Transparency Departments for the design and construction of adjustable light bridges and screen frames for transparency process photography | Special Photographic |
| Daniel J. Bloomberg and the Republic Studio Sound Department for the design and application to motion picture production of a device for marking action negative for pre-selection purposes | Laboratory | |
| 1943 (16th) | Daniel J. Bloomberg and the Republic Studio Sound Department for the design and development of an inexpensive method of converting Moviolas to Class B push-pull reproduction | Sound |
| Charles Galloway Clarke and the 20th Century Fox Studio Camera Department for the development and practical application of a device for composing artificial clouds into motion picture scenes during production photography | Photography | |
| Farciot Edouart and the Paramount Studio Transparency Department for an automatic electric transparency cueing timer | Special Photographic | |
| Willard H. Turner and the RKO Radio Studio Sound Department for the design and construction of the phono-cue starter | Sound | |
| 1944 (17th) | Linwood Dunn, Cecil Love, and ACME Tool and Manufacturing Company for the design and construction of the Acme-Dunn Optical Printer | Laboratory |
| Grover Laube and the 20th Century Fox Studio Camera Department for the development of a continuous loop projection device | Sound | |
| Western Electric Company for the design and construction of the 1126A Limiting Amplifier for variable density sound recording | Sound | |
| Russell Brown, Ray Hinsdale, and Joseph E. Robbins for the development and production use of the Paramount floating hydraulic boat rocker | Stage Operations | |
| Gordon Jennings for the design and construction of the Paramount nodal point tripod | Photography | |
| Radio Corporation of America and the RKO Radio Studio Sound Department for the design and construction of the RKO reverberation chamber | Sound | |
| Daniel J. Bloomberg and the Republic Studio Sound Department for the design and development of a multi-interlock selector switch | Stage Operations | |
| Bernard B. Brown and John P. Livadary for the design and engineering of a separate soloist and chorus recording room | Sound | |
| Paul Zeff, S. J. Twining and George Seid of the Columbia Studio Laboratory for the formula and application to production of a simplified variable area sound negative developer | Laboratory | |
| Paul Lerpae for the design and construction of the Paramount traveling matte projection and photographing device | Special Photographic | |
| 1945 (18th) | Loren L. Ryder, Charles R. Daily, and the Paramount Studio Sound Department for the design, construction, and use of the first dial-controlled step-by-step sound channel line-up and test circuit | Sound |
| Michael S. Leshing, Benjamin C. Robinson, Arthur B. Chatelain, and Robert C. Stevens of 20th Century Fox Studio and John G. Capstaff of Kodak Company for the 20th Century Eastman-Fox film processing machine | Laboratory | |
| 1946 (19th) | Harlan L. Baumbach and the Paramount West Coast Laboratory for an improved method for the quantitative determination of hydroquinone and metol in photographic developing baths | Laboratory |
| Herbert E. Britt for the development and application of formulas and equipment for producing cloud and smoke effects | Stage Operations | |
| Burton F. Miller and the Warner Bros. Studio Sound and Electrical Departments for the design and construction of a motion picture arc lighting generator filter | Lighting | |
| Carl Faulkner of the 20th Century Fox Studio Sound Department for the reversed bias method, including a double bias method for light valve and galvanometer density recording | Sound | |
| The Mole-Richardson Company for the Type 450 super high-intensity carbon arc lamp | Lighting | |
| Arthur F. Blinn, Robert O. Cook, C. O. Slyfield, and the Walt Disney Studio Sound Department for the design and development of an audio finder and track viewer for checking and locating noise in soundtracks | Sound | |
| Burton F. Miller and the Warner Bros Studio Sound Department for the design and application of an equalizer to eliminate relative spectral energy distortion in electronic compressors | Sound | |
| Marty Martin and Hal Adkins of the RKO Radio Studio Miniature Department for the design and construction of equipment providing visual bullet effects | Stage Operations | |
| Harold Nye and the Warner Bros Studio Electrical Department for the development of the electronically controlled fire and gaslight effect | Stage Operations | |
| 1947 (20th) | Nathan Levinson and the Warner Bros. Studio Sound Department for the design and construction of a constant-speed sound editing machine | Sound |
| Farciot Edouart, C.R. Daily, Hal Corl, H. G. Cartwright, and the Paramount Studio Transparency and Engineering Departments for the first application of a special anti-solarizing glass to high-intensity background and spot arc projectors | Lighting | |
| Fred Ponedel of Warner Bros. Studio for pioneering the fabrication and practical application to motion picture color photography of large translucent photographic backgrounds | Special Photographic | |
| Kurt Singer and the RCA Victor Division of Radio Corporation of America for the design and development of a continuously variable band-elimination filter | Sound | |
| James Gibbons of Warner Bros. Studio for the development and production of large dyed plastic filters for motion picture photography | Lighting | |
| 1948 (21st) | Marty Martin, Jack Lannan, Russell Shearman, and the RKO Radio Studio Special Effects Department for the development of a new method of simulating falling snow on motion picture sets | Lighting |
| A. J. Moran and the Warner Bros. Studio Electrical Department for a method of remote control for shutters on motion picture arc lighting equipment | Stage Operations | |
| 1949 (22nd) | Loren L. Ryder, Bruce H. Denney, Robert J. Carr, and the Paramount Studio Sound Department for the development and application of the supersonic playback and public address system | Special Photographic |
| M. B. Paul for the first successful large-area seamless translucent backgrounds | Stage Operations | |
| Herbert E. Britt for the development and application of formulas and equipment producing artificial snow and ice for dressing motion picture sets | Stage Operations | |
| André Coutant and Jacques Mathot for the design of the Eclair camerette | Camera | |
| Charles R. Daily and Stephen Csillag and the Paramount Studio Engineering, Editorial, and Music Departments for a new precision method of computing variable tempo click tracks | Editorial | |
| The International Projector Corporation for a simplified and self-adjusting take-up device for projection machines | Photography | |
| Alexander Velcoff for the application to the production of the infra-red photographic evaluator | Projection | |
| 1950 (23rd) | No award | — |
Close
1951–1970
More information Year, Recipient(s) ...
| Year | Recipient(s) | Department |
|---|---|---|
| 1951 (24th) | Richard M. Haff, Frank P. Herrnfeld, Garland C. Misener, and the Ansco Film Division of General Aniline & Film Corporation for the development of the Ansco color scene tester | Laboratory |
| Fred Ponedel, Ralph Ayres, and George Brown of Warner Bros. Studio for an air-driven water motor to provide flow, wake, and white water for marine sequences in motion pictures | Stage Operations | |
| Glen Robinson and the Metro-Goldwyn-Mayer Studio Construction Department for the development of a new music wire and cable cutter | Stage Operations | |
| Jack Gaylord and the Metro-Goldwyn-Mayer Studio Construction Department for the development of balsa falling snow | Stage Operations | |
| Carlos Rivas of Metro-Goldwyn-Mayer Studio for the development of an automatic magnetic film splicer | Editorial | |
| 1952 (25th) | The Projection, Still Photographic, and Development Engineering Departments of Metro-Goldwyn-Mayer Studio for an improved method of projecting photographic backgrounds | Special Photographic |
| John G. Frayne and R.R. Scoville and Westrex Corporation for a method of measuring distortion in sound reproduction | Sound | |
| Photo Research Corporation for creating the Spectra color temperature meter | Photography | |
| Gustav Jirouch for the design of the Robot automatic film splicer | Editorial | |
| Carlos Rivas of Metro-Goldwyn-Mayer Studio for the development of a sound reproducer for magnetic film | Sound | |
| 1953 (26th) | Westrex Corporation for the design and construction of a new film editing machine | Editorial |
| 1954 (27th) | David S. Horsley and the Universal-International Studio Special Photographic Department for a portable remote control device for process projectors | Special Photographic |
| Karl Freund and Frank Crandell of Photo Research Corporation for the design and development of a direct reading brightness meter | Photography | |
| Wesley C. Miller, J.W. Stafford, K.M. Frierson, and the Metro-Goldwyn-Mayer Studio Sound Department for an electronic sound printing comparison device | Sound | |
| John P. Livadary and Lloyd Russell and the Columbia Studio Sound Department for an improved limiting amplifier as applied to sound level comparison devices | Sound | |
| Roland Miller and Max Goeppinger of Magnascope Corporation for the design and development of a cathode ray magnetic soundtrack viewer | Sound | |
| Carlos Rivas, G.M. Sprague, and the Metro-Goldwyn-Mayer Studio Sound Department for the design of a magnetic sound editing machine | Sound | |
| Fred Wilson of the Samuel Goldwyn Studio Sound Department for the design of a variable multiple-band equalizer | Sound | |
| P.C. Young of the Metro-Goldwyn-Mayer Studio Projection Department for the practical application of a variable focal length attachment to motion picture projector lenses | Projection | |
| Fred Knoth and Orien Ernst of the Universal-International Studio Technical Department for the development of a hand portable, electric, dry oil-fog machine | Stage Operations | |
| 1955 (28th) | 20th Century Fox Studio and the Bausch & Lomb Optical Company for the new combination lenses for CinemaScope Photography | Lenses and Filters |
| Walter Jolley, Maurice Larson, R.H. Spies of 20th Century Fox Studio for a spraying process that creates simulated metallic surfaces | Props | |
| Steve Krilanovich for an improved camera dolly incorporating multi-directional steering | Camera Cranes | |
| Dave Anderson of 20th Century-Fox Studio for an improved spotlight capable of maintaining a fixed circle of light at constant intensity over varied distances | Lighting | |
| Loren L. Ryder, Charles West, Henry Fracker, and the Paramount Studios for a projection film index to establish proper framing for various aspect ratios | Projection | |
| Farciot Edouart, Hal Corl, and the Paramount Studio Transparency Department for an improved dual stereopticon background projector | Special Photographic | |
| 1956 (29th) | Richard H. Ranger of Rangertone, Inc., for the development of a synchronous recording and reproducing system for quarter-inch magnetic tape | Sound |
| Ted Hirsch, Carl Hauge, and Edward H. Reichard of Consolidated Film Industries for an automatic scene counter for laboratory projection rooms | Laboratory | |
| The Technical Departments of Paramount Pictures Corp., for the engineering and development of the Paramount light-weight horizontal-movement VistaVision camera | Camera | |
| Roy C. Stewart and sons of Stewart-Trans Lux Corp., Dr. C.R. Daily, and the Transparency Department of Paramount Pictures Corp., for the engineering and development of the HiTrans and Para-HiTrans rear projection screens | Special Photographic | |
| The Construction Department of Metro-Goldwyn-Mayer Studio for a new hand-portable fog machine | Stage Operations | |
| Daniel J. Bloomberg, John Pond, William Wade, and the Engineering and Camera Departments of Republic Studio for the Naturama adaptation to the Mitchell camera | Photography | |
| 1957 (30th) | Charles E. Sutter, William B. Smith of Paramount Pictures Corp., and General Cable Corp., for the engineering and application to studio use of aluminum lightweight electrical cable and connectors. | Stage Operations |
| 1958 (31st) | Willy Borberg of the General Precision Laboratory, Inc., for the development of a high-speed intermittent movement for 35mm motion picture theatre projection equipment | Projection |
| Fred Ponedel, George Brown, and Conrad Boye of the Warner Bros. Special Effects Department for the design and fabrication of a new rapid-fire marble gun | Stage Operations | |
| 1959 (32nd) | Ub Iwerks of Walt Disney Productions for the design of an improved optical printer for special effects and matte shots | Laboratory |
| E.L. Stones, Glen Robinson, Winfield Hubbard, and Luther Newman of the Metro-Goldwyn-Mayer Studio Construction Department for the design of a multiple cable remote-controlled winch | Stage Operations | |
| 1960 (33rd) | Arthur Holcomb, Petro Vlahos, and Columbia Studio Camera Department for a camera flicker indicating device | Photography |
| Anthony Paglia and the 20th Century Fox Studio Mechanical Effects Department for the design and construction of a miniature flak gun and ammunition | Stage Operations | |
| Carl Hauge, Robert Grubel, and Edward H. Reichard of Consolidated Film Industries for the development of an automatic developer replenisher system | Laboratory | |
| 1961 (34th) | Hurletron, Inc., Electric Eye Equipment Division, for an automatic light changing system for motion picture printers | Laboratory |
| Wadsworth E. Pohl and Technicolor Corp., for an integrated sound and picture transfer process | Laboratory | |
| 1962 (35th) | Electro-Voice, Inc., for a highly directional dynamic line microphone. | Sound |
| Louis G. MacKenzie for a selective sound effects repeater | Sound | |
| 1963 (36th) | Douglas Shearer and A. Arnold Gillespie of Metro-Goldwyn-Mayer Studios for the engineering of an improved Background Process Projection System. | Special Photographic |
| 1964 (37th) | Milton Forman, Richard B. Glickman, and Daniel J. Pearlman of ColorTran Industries for advancements in the design and application to motion picture photography of lighting units using quartz iodine lamps | Lighting |
| Stewart Filmscreen Corporation for a seamless translucent Blue Screen for Traveling Matte Color Cinematography | Special Photographic | |
| Anthony Paglia and the 20th Century Fox Studio Mechanical Effects Department for an improved method of producing Explosion Flash Effects for motion pictures | Stage Operations | |
| Edward H. Reichard and Carl W. Hauge of Consolidated Film Industries for the design of a Proximity Cue Detector and its application to motion picture printers | Laboratory | |
| Edward H. Reichard, Leonard L. Sokolow and Carl W. Hauge of Consolidated Film Industries for the design and application to motion picture laboratory practice of a Stroboscopic Scene Tester for color and black-and-white film | Laboratory | |
| Nelson Tyler for the design and construction of an improved Helicopter Camera System | Photography | |
| 1965 (38th) | No award | — |
| 1966 (39th) | Panavision, Incorporated, for the design of the Panatron Power Inverter and its application to motion picture camera operation | Stage Operations |
| Carroll Knudson for the production of a Composer's Manual for Motion Picture Music Synchronization | Editorial | |
| Ruby Raksin for the production of a Composer's Manual for Motion Picture Music Synchronization | Editorial | |
| 1967 (40th) | The Electro-Optical Division of Kollmorgen Corporation for the design and development of a series of Motion Picture Projection Lenses | Lenses and Filters |
| Panavision, Incorporated, for a Variable Speed Motor for Motion Picture Cameras | Camera | |
| Fred R. Wilson of the Samuel Goldwyn Studio Sound Department for an Audio Level Clamper | Sound | |
| Waldon O. Watson and the Universal City Studio Radio Department for new concepts in the design of a Music Scoring Stage | Sound | |
| 1968 (41st) | Carl W. Hauge and Edward H. Reichard of Consolidated Film Industries and E. Michael Meahl and Roy J. Ridenour of Ramtronics for engineering an automatic exposure control for printing-machine lamps | Laboratory |
| Eastman Kodak Company for a new direct positive film and to Consolidated Film Industries for the application of this film to the making of post-production work prints | Film | |
| 1969 (42nd) | Oto Popleka of Magna-Tech Electronics Company, Inc., for the development of an Electronically Controlled Looping System | Sound |
| Fenton Hamilton of Metro-Goldwyn-Mayer Studios for the concept and engineering of a mobile battery power unit for location lighting | Lighting | |
| Panavision, Incorporated for the design and development of the Panaspeed Motion Picture Camera Motor | Camera | |
| Robert M. Flynn and Russell Hessy of Universal City Studios, Inc., for a machine-gun modification for motion picture photography | Stage Operations | |
| 1970 (43rd) | Sylvania Electric Products, Inc., for the development and introduction of a series of compact tungsten halogen lamps for motion picture production | Lighting |
| B.J. Losmandy for the concept, design, and application of micro-miniature solid state amplifier modules used in motion picture recording equipment | Sound | |
| Eastman Kodak Company and Photo Electronics Corporation for the design and engineering of an improved video color analyzer for motion picture laboratories | Laboratory | |
| Electro Sound Incorporated for the design and introduction of the Series 8000 Sound System for motion picture theatres | Sound |
Close
1971–1990
More information Year, Recipient(s) ...
| Year | Recipient(s) | Department |
|---|---|---|
| 1971 (44th) | Thomas Jefferson Hutchinson, James R. Rochester, and Fenton Hamilton for the development and introduction of the Sunbrute system of xenon arc lamps for location lighting in motion picture production | Lighting |
| Photo Research Corporation, a division of Kollmorgen Corporation, for the development and introduction of the film-lens balanced Three Color Meter | Photography | |
| Robert D. Auguste and Cinema Products Company for the development and introduction of a new crystal-controlled lightweight motor for the 35mm motion picture Arriflex camera | Camera | |
| Producers Service Corporation and Consolidated Film Industries; and to Cinema Research Corporation and Research Products, Inc., for the engineering and implementation of fully automated blow-up motion picture printing systems | Laboratory | |
| Cinema Products Company for a control motor to actuate zoom lenses on motion picture cameras | Camera | |
| 1972 (45th) | Photo Research Corporation, a division of Kollmorgen Corporation, and PSC Technology Inc., Acme Products Division, for the Spectra Film Gate Photometer for motion picture printers | Laboratory |
| Carter Equipment Company, Inc. and Ramtronics for the RAMtronics light-valve photometer for motion picture printers | Laboratory | |
| David Degenkolb, Harry Larson, Manfred Michelson, and Fred Scobey of DeLuxe General Incorporated for the development of a computerized motion picture printer and process control system | Laboratory | |
| Jiro Mukai and Ryusho Hirose of Canon, Inc., and Wilton R. Holm of the AMPTP Motion Picture and Television Research Center for the development of the Canon Macro Zoom Lens for motion picture photography | Lenses and Filters | |
| Philip V. Palmquist of Minnesota Mining and Manufacturing Co., Dr. Herbert Meyer of the Motion Picture and Television Research Center, and to Charles D. Staffell of the Rank Organization for the development of a successful embodiment of the reflex background projection system for composite cinematography | Props | |
| E.H. Geissler and G.M. Berggren of Wil-Kin Inc., for the engineering of the Ultra-Vision Motion Picture Theater Projection System | Projection | |
| 1973 (46th) | Rosco Laboratories, Inc., for the technical advances and the development of a complete system of light-control materials for motion picture photography | Lenses and Filters |
| Richard H. Vetter of Todd-AO Corporation for the design of an improved anamorphic focusing system for motion picture photography | Lenses and Filters | |
| 1974 (47th) | The Elemack Company, Rome, Italy, for the design and development of their Spyder camera dolly | Camera Cranes |
| Louis Ami of Universal City Studios for the design and construction of a reciprocating camera platform used when photographing special visual effects for motion pictures | Stage Operations | |
| 1975 (48th) | Lawrence W. Butler and Roger Banks for the concept of applying low inertia and stepping electric motors to film transport systems and optical printers for motion picture production | Special Photographic |
| David Degenkolb and Fred Scobey of Deluxe General Incorporated and John C. Dolan and Richard Dubois of the Akwaklame Company for the development of a technique for silver recovery from photographic wash-waters by ion exchange | Laboratory | |
| Joseph Westheimer for the development of a device to obtain shadowed titles on motion picture films | Special Photographic | |
| Carter Equipment Company, Inc. and Ramtronics for the engineering and manufacture of a computerized tape punching system for programming laboratory printing machines | Laboratory | |
| Hollywood Film Company for the engineering and manufacture of a computerized tape punching system for programming laboratory printing machines | Laboratory | |
| Bell & Howell for the engineering and manufacture of a computerized tape punching system for programming laboratory printing machines | Laboratory | |
| Fredrik Schlyter for the engineering and manufacture of a computerized tape punching system for programming laboratory printing machines | Laboratory | |
| 1976 (49th) | Fred Bartscher of Kollmorgen Corporation and to Glenn Berggren of the Schneider Corporation for the design and development of a single-lens magnifier for motion picture projection lenses | Lenses and Filters |
| Panavision, Incorporated for the design and development of super-speed lenses for motion picture photography | Lenses and Filters | |
| Hiroshi Suzukawa of Canon and Wilton R. Holm of AMPTP Motion Picture and Television Research Center for the design and development of super-speed lenses for motion picture photography | Lenses and Filters | |
| Carl Zeiss Company for the design and development of super-speed lenses for motion picture photography | Lenses and Filters | |
| Photo Research Corporation, a division of Kollmorgen Corporation for the engineering and manufacture of the Spectra TriColor Meter | Photography | |
| 1977 (50th) | Ernst F. Nettman of the Astrovision Division of Continental Camera Systems, Incorporated, for the engineering of its Periscope Aerial Camera System | Camera |
| EECO (Electronic Engineering Company of California) for developing a method for interlocking non-sprocketed film and tape media used in motion picture production | Systems | |
| Dr. Bernhard Kühl and Werner Block of OSRAM, GmbH, for the development of the HMI high-efficiency discharge lamp for motion picture lighting | Lighting | |
| Panavision, Incorporated for the design of Panalite, a camera-mounted controllable light for motion picture photography | Lighting | |
| Panavision, Incorporated for the engineering of the Panahead gearhead for motion picture cameras | Stage Operations | |
| Piclear, Inc, for originating and developing an attachment to motion picture projectors to improve screen image quality | Laboratory | |
| 1978 (51st) | Karl Macher and Glenn M. Berggren of Isco Optische Werke for the development and introduction of the Cinelux-ULTRA Lens for 35mm Motion Picture Projection | Lenses and Filters |
| David J. Degenkolb, Arthur L. Forde, and Fred J. Scobey of DeLuxe General, Incorporated, for the development of a Method to Recycle Motion Picture Laboratory Photographic Wash Waters by Ion Exchange | Laboratory | |
| Kiichi Sekiguchi of CINE-FI International for the development of the CINE-FI Auto Radio Sound System for Drive-In Theaters | Systems | |
| Leonard Chapman of Leonard Equipment Company, for the design and manufacture of a small, mobile, motion picture camera platform known as the Chapman Hustler Dolly | Camera Cranes | |
| James L. Fisher of J.L. Fisher, Incorporated, for the design and manufacture of a small, mobile, motion picture camera platform known as the Fisher Model Ten Dolly | Camera Cranes | |
| Robert Stindt of Production Grip Equipment Company, for the design and manufacture of a small, mobile, motion picture camera platform known as the Stindt Dolly | Camera Cranes | |
| 1979 (52nd) | Michael V. Chewey, Walter G. Eggers, and Allen Hecht of M-G-M Laboratories for the development of a Computer-controlled Paper Tape Programmer System and its applications in the motion picture laboratory | Laboratory |
| Irwin Young, Paul Kaufman, and Fredrik Schlyter of Du Art Film Laboratories, Incorporated, for the development of a Computer-controlled Paper Tape Programmer System and its applications in the motion picture laboratory | Laboratory | |
| James S. Stanfield and Paul W. Trester for the development and manufacture of a device for the repair or protection of sprocket holes in motion picture film | Projection | |
| Zoran Perisic of Courier Films, Ltd., for the Zoptic Special Optical Effects Device for motion picture photography | Special Photographic | |
| A. D. Flowers and Logan R. Frazee for the development of a device to control flight patterns of miniature airplanes during motion picture photography | Stage Operations | |
| Photo Research Corporation, a division of Kollmorgen Corporation for the development of the Spectra Series II Cine Special Exposure Meter for motion picture photography | Photography | |
| Bruce Lyon and John Lamb for the development of a Video Animation System for testing motion picture animation sequences | Cartoon Process | |
| Ross Lowell of Lowel-Light Manufacturing, Incorporated, for the development of compact lighting equipment for motion picture photography | Lighting | |
| 1980 (53rd) | Carter Equipment Company for the development of a continuous contact, total immersion, additive color motion picture printer | Laboratory |
| Hollywood Film Company for the development of a continuous-contact, total immersion, additive color motion picture printer | Laboratory | |
| fr: André Debrie for the development of a continuous contact, total immersion, additive color motion picture printer | Laboratory | |
| Charles Vaughn and Eugene Nottingham of Cinetron Computer Systems, Incorporated, for the development of a versatile general purpose computer system for animation and optical effects motion picture photography | Systems | |
| John W. Lang, Walter Hrastnik, and Charles J. Watson of Bell and Howell Company for the development and manufacture of a modular continuous contact motion picture film | Laboratory | |
| Worth Baird of LaVezzi Machine Works, Incorporated, for the advanced design and manufacture of a film sprocket for motion picture projectors | Projection | |
| Peter Regla and Dan Slater of Elicon for the development of a follow-focus system for motion picture optical effects printers and animation stands | Photography | |
| 1981 (54th) | Hal Landaker for the concept and to Alan Landaker for the engineering of the Burbank Studios' Production Sound Department 24-frame color video system | Special Photographic |
| Bill Hogan of Ruxton, Ltd., and Richard J. Stumpf and Daniel R. Brewer of Universal City Studios' Production Sound Department, for the engineering of a 24-frame color video system | Special Photographic | |
| John DeMuth, for the engineering of a 24-frame video system | Special Photographic | |
| Ernst F. Nettman, of Continental Camera Systems, Inc., for the development of a pitching lens for motion picture photography | Camera | |
| Bill Taylor of Universal City Studios for the concept and specifications for a Two Format, Rotating Head, Aerial Image Optical Printer | Special Photographic | |
| Peter D. Parks of Oxford Scientific Films for the development of the OSF microcosmic zoom device for microscopic photography | Camera | |
| Louis Stankiewicz and H.L. Blachford for the development of Baryfol sound barrier materials | Stage Operations | |
| Dennis Muren and Stuart Ziff of Industrial Light and Magic, Incorporated for the development of a Motion Picture Figure Mover for animation photography | Stage Operations | |
| 1982 (55th) | Richard W. Deats for the design and manufacture of the "Little Big Crane" for motion picture production | Camera Cranes |
| Cons Tresfon and Adriaan De Rooy of Egripment, and to Ed Phillips and Carlos DeMattos of Matthews Studio Equipment, Incorporated, for the design and manufacture of the "Tulip Crane" for motion picture production | Camera Cranes | |
| Bran Ferren of Associates and Ferren for the design and development of a computerized lightning effect system for motion picture photography | Stage Operations | |
| Christie Electric Corp. and LaVezzi Machine Works, Inc., for the design and manufacture of the Ultramittent film transport for Christie motion picture projectors | Projection | |
| 1983 (56th) | William G. Krokaugger of Mole-Richardson Company for the design and engineering of a portable, 12,000 watt, lighting-control dimmer for use in motion picture production | Lighting |
| Charles L. Watson, Larry L. Langrehr, and John H. Steiner for the development of the BHP (electro-mechanical) fader for use on continuous motion picture contact printers | Laboratory | |
| Elizabeth D. De La Mare of De La Mare Engineering, Incorporated, for the progressive development and continuous research of special effects pyrotechnics originally designed by Glenn W. De La Mare for motion picture production | Stage Operations | |
| Douglas Fries, John Lacey, and Michael Sicrist for the design and engineering of a 35mm reflex conversion camera system for special effects photography | Camera | |
| Jack Cashin of Ultra-Stereo Labs, Incorporated, for the engineering and development of a 4-channel, stereophonic, decoding system for optical motion picture soundtrack reproduction | Sound | |
| David J. Degenkolb for the design and development of an automated device used in the silver recovery process in motion picture laboratories | Laboratory | |
| 1984 (57th) | Nat Tiffen of Tiffen Manufacturing Corporation for the production of high-quality, durable, laminated color filters for motion picture photography | Lenses and Filters |
| Don Trumbull, Jonathan Erland, Stephen Fog, and Paul Burk of Apogee, Inc., for the design and development of the "Blue Max" high-power, blue-flux projector for traveling matte composite photography | Special Photographic | |
| Jonathan Erland and Robert Bealmear of Apogee, Incorporated, for an innovative design for front projection screens and an improved method for their construction | Special Photographic | |
| Howard J. Preston of Preston Cinema Systems for the design and development of a variable speed control device with automatic exposure compensation for motion picture cameras | Camera | |
| 1985 (58th) | David W. Spencer for the development of the Animation Photo Transfer (APT) process | Cartoon Process |
| Harrison & Harrison, Optical Engineers, for the invention and development of Harrison Diffusion filters for motion picture photography | Lenses and Filters | |
| Larry Barton of Cinematography Electronics, Inc., for a precision speed crystal-controlled device for motion picture photography | Camera | |
| Alan Landaker of The Burbank Studios for the Mark III Camera Drive for motion picture photography | Camera | |
| 1986 (59th) | Lee Electric (Lightning) Ltd., for the design and development of an electronic, flicker-free, discharge lamp control system | Lighting |
| Peter Parks of Oxford Scientific Films' Image Quest Division for the development of a live aero-compositor for special effects photography | Special Photographic | |
| Matt Sweeney and Lucinda Strub for the development of an automatic capsule gun for simulating bullet hits for motion picture special effects | Stage Operations | |
| Carl E. Holmes of Carl E. Holmes Company and to Alexander Bryce of The Burbank Studios for the development of a mobile DC power supply unit for motion picture production photography | Lighting | |
| Bran Ferren of Associates and Ferren for the development of a laser synchro-cue system for applications in the motion picture industry | Special Photographic | |
| John L. Baptista of Metro-Goldwyn-Mayer Laboratories, Inc., for the development and installation of a computerized silver recovery operation | Laboratory | |
| David W. Samuelson for the development of programs incorporated into a pocket computer for motion picture cinematographers, and to William B. Pollard for contributing new algorithms on which the programs are based | Photography | |
| Hal Landaker and Alan Landaker of The Burbank Studios for the development of the Beat System low-frequency cue track for motion picture production sound recording | Sound | |
| 1987 (60th) | Ioan Allen of Dolby Laboratories, Inc., for the Cat. 43 playback-only noise reduction unit and its practical application to motion picture sound recordings | Sound |
| John Eppolito, Wally Gentleman, William Mesa, Les Paul Robley, and Geoffrey H. Williamson for refinements to a dual screen, front projection, and image-compositing system | Special Photographic | |
| Jan Jacobsen for the application of a dual screen, front projection system to motion picture special effects photography | Special Photographic | |
| Thaine Morris and David Pier for the development of DSC Spark Devices for motion picture special effects | Stage Operations | |
| Tad Krzanowski of Industrial Light and Magic, Inc., for the development of a Wire Rig Model Support Mechanism use to control the movements of miniatures in special effects | Stage Operations | |
| Dan C. Norris and Tim Cook of Norris Film Products for the development of a single-frame exposure system for motion picture photography | Camera | |
| 1988 (61st) | Grant Loucks of Alan Gordon Enterprises Incorporated for the design concept, and to Geoffrey H. Williamson of Wilcam for the mechanical and electrical engineering, of the Image 300 35mm High-Speed Motion Picture Camera | Camera |
| Michael V. Chewey III for the development of the motion picture industry's first paper tape reader incorporating microprocessor technology | Laboratory | |
| BHP, Inc., successor to the Bell & Howell Professional Equipment Division, for the development of a high-speed reader incorporating microprocessor technology for motion picture laboratories | Laboratory | |
| Hollywood Film Company for the development of a high-speed reader incorporating microprocessor technology for motion picture laboratories | Laboratory | |
| Bruce W. Keller and Manfred G. Michelson of Technical Film Systems for the design and development of a high-speed light valve controller and constant current power supply for motion picture laboratories | Laboratory | |
| Dr. Antal Lisziewicz and Glenn M. Berggren of ISCO-Optic GmbH for the design and development of the Ultra-Star series of motion picture lenses | Lenses and Filters | |
| James K. Branch of Spectra Cine, Incorporated, and to William L. Blowers and Nasir J. Zaidi for the design and development of the Spectra CineSpot one-degree spotmeter for measuring the brightness of motion picture screens | Photography | |
| Bob Badami, Dick Bernstein, and Bill Bernstein of Offbeat Systems for the design and development of the Streamline Scoring System, Mark IV, for motion picture music editing | Editorial | |
| Gary Zeller of Zeller International Limited for the development of Zel-Jel fire protection barrier for motion picture stunt work | Stage Operations | |
| Emanual Trilling of Trilling Resources Limited for the development of Stunt-Gel fire protection barrier for motion picture stunt work | Stage Operations | |
| Paul A. Roos for the invention of a method known as Video Assist, whereby a scene being photographed on motion picture film can be viewed on a monitor and/or recorded on videotape | Systems | |
| 1989 (62nd) | Dr. Leo Cattozzo for the design and development of the CIR-Catozzo Self-Perforating Adhesive Tape Film Splicer | Editorial |
| Magna-Tech Electronics Company for the introduction of the first remotely controlled Advance/Retard function for magnetic film sound dubbing | Sound | |
| 1990 (63rd) | William L. Blowers of Belco Associates, Incorporated and Thomas F. Denove for developing and manufacturing the Belco/Denove Cinemeter. This digital/analog exposure meter was specifically and uniquely designed for the cinematographer. | Photography |
| Iain Neil for 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 | Lenses and Filters | |
| Christopher Gilman, Harvey Hubert Jr. of the Diligent Dwarves Effects Lab for the development of the Actor Climate System, consisting of heat-transferring undergarments | Stage Operations | |
| Jim Graves of J&G Enterprises for the development of the Cool Suit System, consisting of heat-transferring undergarments | Stage Operations | |
| Bengt O. Orhall, Kenneth Lund, Bjorn Selin, and Kjell Högberg of AB Film-Teknik for developing and manufacturing the Mark IV film subtitling processor, which has increased the speed, simplified the operation, and improved the quality of subtitling | Laboratory | |
| Richard Mula and Pete Romano of HydroImage, Incorporated, for the development of the SeaPar 1200 watt HMI Underwater Lamp | Lighting | |
| Dedo Weigert of Dedo Weigert Film GmbH for the development of the Dedolight, a miniature low-voltage tungsten-halogen lighting fixture | Lighting | |
| Dr. Fred Kolb Jr. and Paul Preo for the concept and development of a 35mm projection test film | Film | |
| Peter Baldwin for the design; Dr. Paul Kiankhooy and the Lightmaker Company for the development of the Lightmaker AC/DC HMI Ballast | Lighting | |
| The All-Union Cinema and Photo Research Institute (NIKFI) for continuously improving and providing 3D presentations to Soviet motion picture audiences for the last 25 years | Systems |
Close
1991–2002
More information Year, Recipient(s) ...
| Year | Recipient(s) | Department |
|---|---|---|
| 1991 (64th) | Robert W. Stoker Jr., for the design and development of a cobweb gun, for applying non-toxic cobweb effects on motion picture sets with both safety and ease of operation | Stage Operations |
| James Doyle for the design and development of the Dry Fogger, which uses liquid nitrogen to produce safe, dense, low-hanging fog effects | Stage Operations | |
| Dick Cavdek, Steve Hamerski, and Otto Nemenz International, Incorporated for the optomechanical design and development of the Canon/Nemenz Zoom Lens | Lenses and Filters | |
| Ken Robings and Clairmont Camera for the optomechanical design and development of the Canon/Clairmont Camera Zoom Lens | Lenses and Filters | |
| Century Precision Optics for the optomechanical design and development of the Canon/Century Precision Optics Zoom Lens | Lenses and Filters | |
| 1992 (65th) | Ira Tiffen of the Tiffen Manufacturing Corporation for the production of the Ultra Contrast Filter Series for motion picture photography | Lenses and Filters |
| Robert R. Burton of Audio Rents, Incorporated, for the development of the Model S-27 4-Band Splitter/Combiner | Sound | |
| Iain Neil for the optical design and Kaz Fudano for the mechanical design of the Panavision Slant Focus Lens for motion picture photography | Lenses and Filters | |
| Tom Bingham for the original concept and pioneering work; and Douglas Smythe and the Computer Graphics Department of Industrial Light & Magic for the development and the first implementation in feature motion pictures of the "MORF" system for digital metamorphosis of high-resolution images | Special Photographic | |
| 1993 (66th) | Wally Mills for the concept; and Gary Stadler and Gustave Parada for the design of the Cinemills Lamp Protection System | Lighting |
| Gary Nuzzi, David Johnsrud, William Blethen for the design and development of the Unilux H3000 Strobe Lighting System | Lighting | |
| Harry J. Baker for the design and development of the Ronford-Baker Metal Tripods for motion picture photography | Stage Operations | |
| Michael Dorrough for the design and development of the compound meter known as the Dorrough Audio Level Meter | Sound | |
| David Degenkolb for the development of a Silver Recovery Ion Exchange System to eliminate hazardous waste (silver ion) in wash water and allow recycling of this water | Laboratory | |
| 1994 (67th) | B. Russell Hessey of Special Effects Spectacular, Inc. and Vincent T. Kelton for the hardware design, and George Jackman of De La Mare Engineering, Inc., for the pyrotechnic development which together comprises the non-gun safety blank firing system | Stage Operations |
| Frieder Hochheim, Gary H. Swink, Dr. Joe Zhou, and Don Northrop for the development of the Kino Flo Portable, Flicker Free, High Output Fluorescent Lighting System for motion picture set illumination | Lighting | |
| Emmanuel Previnaire of Flying-Cam for his pioneering concept and for the development of mounting a motion picture camera on a remotely-controlled miniature helicopter | Photography | |
| Jacques Sax of Sonosax for the design and development of the Sonosax SX-S portable audio mixer | Sound | |
| Clay Davis and John Carter of Todd-AO Corporation for the pioneering effort of computer-controlled list management style ADR (Automated Dialogue Replacement) | Sound | |
| Stephen W. Potter, John Asman, Charles Pell, and Richard Larson of LarTec Systems for the advancement and refinement of the computer-controlled list management style ADR (Automated Dialogue Replacement) system via the LarTec ADR System that has established itself as a standard of the industry | Sound | |
| Audio Tracks, Inc., for the design and development of the ADE (Advanced Data Encoding) System which creates an encoded timecode track and database during the initial transfer of the production sound "dailies" | Sound | |
| Colin Broad of CB Electronics for the design and development of the EDL (Edit Decision List) Lister which creates an encoded timecode track and database during the initial transfer of the production sound "dailies" | Sound | |
| Dieter Sturm of Sturm's Special Effects Int'l for the creation and development of the Bio-Snow 2 Flake | Stage Operations | |
| David A. Addleman and Lloyd A. Addleman for the development of the Cyberware 3030 3D Digitizer | Special Photographic | |
| Mark R. Schneider, Herbert R. Jones, Christopher D. Conover, and John R.B. Brown for the development of the Polhemus 3 Space Digitizing System | Special Photographic | |
| Jack Smith, Michael Crichton, and Emil Safier for pioneering computerized motion picture budgeting and scheduling | Editorial and Pre-production | |
| Stephen Greenfield and Chris Huntley of Screenplay Systems for the development of the "Scriptor" software | Editorial and Pre-production | |
| Art Fritzen of the California Fritzen Propeller Company as the designer and sole manufacturer of the Eight-Bladed Ritter Fan Propellers | Stage Operations | |
| Dr. Mike Boudry of the Computer Film Company for his pioneering work in the field of film input scanning | Special Photographic | |
| 1995 (68th) | Pascal Chedeville for the design of the L.C. Concept Digital Sound System for motion picture exhibition | Sound |
| James Deas of the Warner Bros. Studio Facility for the design and subsequent development of an Automated Patchbay and Metering System for motion picture sound transfer and dubbing operations | Sound | |
| Clay Davis and John Carter of Todd-AO Corporation for their pioneering efforts in creating an Automated Patchbay System for motion picture sound transfer and dubbing operations | Sound | |
| Al Jensen, Chuck Headley, Jean Messner, and Hazem Nabulsi of CEI Technology for producing a self-contained, flicker-free Color Video-Assist Camera | Camera | |
| Peter Denz of Präzisions-Entwicklung Denz for developing a flicker-free Color Video-Assist Camera | Camera | |
| David Pringle and Yan Zhong Fang for the design and development of "Lightning Strikes," a flexible, high-performance electronic lightning effect system | Stage Operations | |
| BHP, Incorporated., for their pioneering efforts in developing Digital Sound Printing Heads for motion pictures | Sound | |
| Joe Finnegan (a.k.a. Joe Yrigoyen) for his pioneering work in developing the Air Ram for motion picture stunt effects | Stage Operations | |
| Gary Demos, David Ruhoff, Can Cameron, and Michelle Feraud for their pioneering efforts in the creation of the Digital Productions Digital Film Compositing System | Special Photographic | |
| Douglas Smythe, Lincoln Hu, Douglas S. Kay, and Industrial Light and Magic for their pioneering efforts in the creation of the ILM Digital Film Compositing System | Special Photographic | |
| The Computer Film Company for their pioneering efforts in the creation of the CFC Digital Film Compositing System | Special Photographic | |
| Institut National Polytechnique de Toulouse for the concept; Kodak Pathe CTP Cine for the prototype; and Eclair Laboratories and Martineau Industries for the development and further implementation of the Toulouse Electrolytic Silver Recovery Cell | Laboratory | |
| 1996 (69th) | Perry Kivolowitz for the primary design, and Dr. Garth Dickie for the development of the algorithms, for the shape-driven warping and morphing subsystem of the Elastic Reality Special Effects System | Special Photographic |
| Ken Perlin for the development of Perlin Noise, a technique used to produce natural appearing textures on computer-generated surfaces for motion picture visual effects | Special Photographic | |
| Nestor Burtnyk and Marceli Wein of the National Research Council of Canada for their pioneering work in the development of software techniques for Computer Assisted Key Framing for Character Animation | Cartoon Process | |
| Grant Loucks for the concept and specifications of the Mark V Director's Viewfinder | Photography | |
| Brian Knep, Craig Hayes, Rick Sayre, and Thomas Williams for the creation and development of the Direct Input Device | Special Photographic | |
| James Kajiya and Timothy Kay for their pioneering work in producing computer-generated fur and hair in motion pictures | Special Photographic | |
| Jeffery Yost, Christian Rouet, David Benson, and Florian Kainz for the development of a system to create and control computer-generated fur and hair in motion pictures | Special Photographic | |
| Richard A. Prey and William N. Masten for the design and development of the Nite Sun II lighting crane and camera platform | Camera Cranes | |
| 1997 (70th) | Clark F. Crites for the design and development of the Christie ELF 1-C Endless Loop Film Transport and Storage System | Projection |
| Dan Leimeter and Bob Weitz for the development and implementation of a Portable Adjustment Tool for T-Style Slit Lens Assemblies | Sound | |
| Philip C. Cory for the design and development of the Special Effects Spark Generator | Stage Operations | |
| James M. Reilly, Douglas W. Nishimura, and Monique C. Fisher of the Rochester Institute of Technology for the creation of A-D Strips, a diagnostic tool for the detection of the presence of vinegar syndrome in processed acetate-based motion picture film | Laboratory | |
| Jim Frazier, for the design concept, and Iain Neil and Rick Gelbard for the further design and development of the Panavision/Frazier Lens System for motion picture photography | Lenses and Filters | |
| James F. Foley, Charles Converse and F. Edward Gardner (of UCISCO); and to Robert W. Stoker, Jr. and Matt Sweeney for the development and realization of Liquid Synthetic Air | Stage Operations | |
| Jack Cashin, Roger Hibbard, and y Jacobson for the design, development, and implementation of a projection system analyzer | Projection | |
| Richard Chuang, Glenn Entis and Carl Rosendahl for the concept and architecture of the Pacific Data Images (PDI) Animation System | Special Photographic | |
| Greg Hermanovic, Kim Davidson, Mark Elendt, and Paul Breslin for the development of the procedural modeling and animation components of the Prisms software package | Special Photographic | |
| James J. Keating, Michael Wahrman, and Richard E. Hollander for their contributions that led to the Wavefront Advanced Visualizer computer graphics system | Special Photographic | |
| 1998 (71st) | 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 |
| Jim Rodnunsky, Jim 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 a quick return to start. Operating unmanned, it can function at speeds and through perils that would be unsafe for onboard operators. | Camera Cranes | |
| David DiFrancesco, N. Balasubramanian, and Tom 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 | |
| Mike MacKenzie, Mike Bolles, Udo Pampel, 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 | |
| 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 | |
| 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 | |
| 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 have resulted in a practical and successful tool for the film production community. | Photography | |
| 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 | |
| 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 the camera used to film it. | Special Photographic | |
| 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 position and location of the camera and objects in a scene by tracking points in a scanned sequence. | Special Photographic | |
| 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 | |
| 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 | |
| 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 | |
| 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 | |
| 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 | |
| Takuo Miyagishima and Albert K. Saiki of Panavision, Incorporated, 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 | |
| Edmund 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 a 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 | |
| Mike Denecke, for refining and further developing electronic time code slates. Due to their features and simplified operational procedures, the Denecke slates have had a significant impact on the motion picture industry and have become the standard for electronic time code slates. | Editorial and Pre-production | |
| 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 | |
| 1999 (72nd) | 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 |
| Leslie Drever, for the design and development of the LightWave microphone windscreens and isolation mounts from LightWave Systems. Designed to eliminate physical acoustical rumble and to cover a microphone's high sensitivity to wind and other unwanted noises, the LightWave Systems line of shock mounts and windscreens accomplish these tasks without altering or impairing the original frequency response of the microphone. | Sound | |
| 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 | |
| Hoyt 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 | |
| 2000 (73rd) | 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 efficient and uniform control of color and exposure in camera negatives, interpositives and duplicate negatives. | Laboratory | |
| 2001 (74th) | 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 has had significant influence in the field of underwater photography. | Photography | |
| To Bernard 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; Charles 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 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 Dr. Steve Sullivan and Eric 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 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 Lance 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 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." | Stage Operations | |
| 2002 (75th) | 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 original 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 Tubelite for their contributions to the development of internally lit balloons for motion picture lighting. | Lighting | |
Close
Remove ads
References
Wikiwand - on
Seamless Wikipedia browsing. On steroids.
Remove ads
Remove ads