By Ray Pride Pride@moviecitynews.com

9 SCIENTIFIC AND TECHNICAL ACHIEVEMENTS TO BE HONORED WITH ACADEMY AWARDS®

January 3, 2012
FOR IMMEDIATE RELEASE

BEVERLY HILLS, CA – The Academy of Motion Picture Arts and Sciences today announced that nine scientific and technical achievements represented by 25 individual award recipients will be honored at its annual Scientific and Technical Awards Presentation at The Beverly Hills Hotel on Saturday, February 9, 2013.

Unlike other Academy Awards to be presented this year, achievements receiving Scientific and Technical Awards need not have been developed and introduced during 2012. Rather, the achievements must demonstrate a proven record of contributing significant value to the process of making motion pictures.

The Academy Awards for scientific and technical achievements are:

Technical Achievement Award (Academy Certificate)

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.

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.

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.

To Theodore Kim, Nils Thuerey, 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 these effects in the final image.

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.

Scientific and Engineering Award (Academy Plaque)

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.

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.

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.

Academy Award® of Merit (Oscar® Statuette)

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.

Portions of the Scientific and Technical Awards Presentation will be included in the Oscar telecast.

Academy Awards for outstanding film achievements of 2012 will be presented on Sunday, February 24, 2013, at the Dolby Theatre™ at Hollywood & Highland Center®, and televised live on the ABC Television Network. The Oscar presentation also will be televised live in more than 225 countries worldwide.

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ABOUT THE ACADEMY
The Academy of Motion Picture Arts and Sciences is the world’s preeminent movie-related organization, with a membership of more than 6,000 of the most accomplished men and women working in cinema. In addition to the annual Academy Awards–in which the members vote to select the nominees and winners–Academy presents a diverse year-round slate of public programs, exhibitions and events; provides financial support to a wide range of other movie-related organizations and endeavors; acts as a neutral advocate in the advancement of motion picture technology; and, through its Margaret Herrick Library and Academy Film Archive, collects, preserves, restores and provides access to movies and items related to their history. Through these and other activities the Academy serves students, historians, the entertainment industry and people everywhere who love movies.

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DEADLINE: How does a visualist feel about people watching your films on a phone or VOD?
REFN: It depends on what kind of movie you make. We had great success with Only God Forgives on multiple platforms in the U.S. Young people will decide how they see it, when they want to see it. Don’t try to fight it. Embrace it. That’s a wonderful opportunity. We’re at the most exciting time since the invention of the wheel, in terms of creativity because distribution and accessibility have changed everything. A camera is still a camera whether it’s digital or not; there’s still sound; an actor is an actor. Ninety-nine percent of what you do is going to be seen on a smart phone – I know this is the greatest thing ever made because it allows people to choose, watching what you do on this format or go into a theater and see it on a screen. That means more people than ever will see what I do, which is personally satisfying in terms of vanity. But you have to be able to adapt, to accept things in different order and length than we’re used to. We are in a very, very exciting time.
~ Nic Refn to Jen Yamato

DEADLINE: You mention Tarantino, who with Christopher Nolan and a few other giants, saved film stock from extinction. To him, showing a digital film in a theater is the equivalent of watching TV in public. Make an argument for why digital is a good film making canvas.
REFN: Costwise, it’s a very effective way for young people to start making movies. You can make your movie on an iPhone. It’s wonderful seeing how my own children use technology to enhance creativity. For me it’s a wonderful canvas. Sure, I love grain in film. I love celluloid. But I also like creativity. I like crayons, I like pencils, I like paint. It’s all relative. Technology is more inclusive. A hundred years ago when film was invented, it was an elitist club. Very few people got to make it, very few people controlled it and very few people owned it. A hundred years later, storytelling through images is everyone’s domain. It’s ultimate capitalism. There are no rules, and no barriers and no Hays Code. Where does this go in another hundred years? I don’t know but I would love to see it.
~ Nic Refn To Jen Yamato