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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Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé