| Since 1931, the Academy of Motion Picture Arts and Sciences has given the Scientific and Technical Award, an Academy Award for scientific or technical achievements, which are presented at "a dinner ceremony separate from the annual telecast." Unlike the Special Achievement Award instituted in 1972, those on whom the Academy confers its Honorary Award do not have to meet "the Academy's eligibility year and deadline requirements." These awards recognize significant milestones in the development of technology for motion pictures and are conferred by vote of the Academy Board of Governors. Potential nominations for awards are investigated by a special committee within the Academy, "The Scientific and Technical Awards Committee", which presents a written report and recommendation to the Board of Governors. Additionally, the John A. Bonner Medal of Commendation, given for "outstanding service and dedication in upholding the high standards of the Academy", and the Gordon E. Sawyer Award, both also considered Honorary Awards, are usually also chosen by the Scientific and Technical Awards Committee and conferred at this annual presentation dinner ceremony. |
Check all the winners of Academy Scientific and Technical Award (Scientific and Engineering award) presented under Academy Awards since 1931 .
Simon Clutterbuck, James Jacobs, 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.) |
Philip McLauchlan, Allan Jaenicke, John-Paul Smith, 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.) |
Joe Murtha, William Frederick, Jim Markland(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.) |
Radu Corlan, Andy Jantzen, Petru Pop, Richard F. Toftness(For the design and engineering of the Phantom family of high-speed cameras for motion picture production. The Phantom family of high-speed digital cameras, including the Phantom Flex and HD Gold, provide imagery at speeds and efficacy surpassing photochemical technology, while seamlessly intercutting with conventional film production.) |
Jürgen Noffke, Uwe Weber(Dr. Jürgen Noffke for the optical design and Uwe Weber for the mechanical design of the ARRI Zeiss Master Prime Lenses for motion picture photography. The Master Primes have achieved a full stop advance in speed over existing lenses, while maintaining state-of-the-art optical quality. This lens family was also the first to eliminate the magnification change that accompanied extreme focus shifts.) |
Michael Lewis, Greg Marsden, Raigo Alas, Michael Vellekoop(For the concept, design and implementation of the Pictorvision Eclipse, an electronically stabilized aerial camera platform. The Pictorvision Eclipse system allows cinematographers to capture aerial footage at faster flying speeds with aggressive platform maneuvering.) |
E. F. "Bob" Nettmann, Michael Sayovitz, Brad Fritzel, Fred Miller(E.F. BOB NETTMANN for the concept and system architecture, MICHAEL SAYOVITZ for the electronic packaging and integration, BRAD FRITZEL for the electronic engineering, and FRED MILLER for the mechanical engineering of the Stab-C Classic, Super-G and Stab-C Compact stabilizing heads. This versatile family of 5-axis camera and lens stabilizers allows any standard motion picture camera to be fitted into the open architecture of the structure. The system can be quickly balanced and made ready for shooting platforms such as helicopters, boats, camera cars or cranes. [Camera Cranes]) |
John D. Lowry, Ian Cavén, Ian Godin, Kimball Thurston, Tim Connolly(For the development of a unique and efficient system for the reduction of noise and other artifacts, thereby providing high-quality images required by the filmmaking process. The "Lowry Process" uses advanced GPU-accelerated, motion estimation-based image processing tools to enhance image quality.) |
Fujifilm, Hideyuki Shirai, Katsuhisa Oozeki, Hiroshi Hirano(For the design and development of the FUJIFILM black and white recording film ETERNA-RDS 4791 for use in the archival preservation of film and digital images. Specifically designed for laser film recording and widely used in the industry today, the high-resolution FUJIFILM ETERNA-RDS 4791 film stock is an important step in protecting the heritage of the motion picture industry.) |
Mark Sagar(For his early and continuing development of influential facial motion retargeting solutions. Dr. Sagar's work led to a method for transforming facial motion capture data into an expression-based, editable character animation system that has been used in motion pictures with a high volume of digital characters.) |
Mark Noel, John Frazier(Mark Noel, for the design, engineering, and development, and John Frazier, for his contributions to the design and safety features, of the NAC Servo Winch System, which allows full-size cars, aircraft and other heavy props to be flown on wires with unprecedented freedom of motion and a high degree of safety, on-set and in real time.) |
Jim Rodnunsky, Alex MacDonald, Mark Chapman(For the development of the Cablecam 3-D volumetric suspended cable camera technologies. The evolution of the Cablecam technology has made it possible to move a camera safely and accurately anywhere through a three-dimensional space.) |
Tim Drnec, Ben Britten Smith, Matt Davis(For the development of the Spydercam 3-D volumetric suspended cable camera technologies. The evolution of the Spydercam technology has made it possible to move a camera safely and accurately anywhere through a three-dimensional space.) |
Per Christensen, Michael Bunnell, Christophe Hery(For the development of point-based rendering for indirect illumination and ambient occlusion. Much faster than previous ray-traced methods, this computer graphics technique has enabled color bleeding effects and realistic shadows for complex scenes in motion pictures.) |
Richard Kirk(For the overall design and development of the Truelight real-time 3D look-up table hardware device and color management software. Through the use of color management software and hardware, this complete system enables accurate color presentation in the digital intermediate preview process. The Truelight system is widely utilized in digital intermediate production environments around the world.) |
Volker Massmann, Markus Hasenzahl, Klaus Anderle, Andreas Loew(For the development of the Spirit 4K/2K film scanning system as used in the digital intermediate process for motion pictures. The Spirit 4K/2K has distinguished itself by incorporating a continuous-motion transport mechanism enabling full-range, high-resolution scanning at much higher frame rates than non-continuous transport scanners.) |
Michael Cieslinski, Reimar Lenz , Bernd Brauner(For the development of the ARRISCAN film scanner, enabling high-resolution, high-dynamic range, pin-registered film scanning for use in the digital intermediate process. The ARRISCAN film scanner utilizes a specially designed CMOS array sensor mounted on a micro-positioning platform and a custom LED light source. Capture of the film's full dynamic range at various scan resolutions is implemented through sub-pixel offsets of the sensor along with multiple exposures of each frame.) |
Wolfgang Lempp, Theo Wade Brown, Tony Sedivy, John Quartel(For the development of the Northlight film scanner, which enables high-resolution, pin-registered scanning in the motion picture digital intermediate process. Developed for the digital intermediate and motion picture visual effects markets, the Northlight scanner was designed with a 6K CCD sensor, making it unique in its ability to produce high-resolution scans of 35mm, 8-perf film frames.) |
Steve Chapman, James Logie, Darrin Smart, Martin Tlaskal(For their contributions to the development of the Baselight color correction system, which enables real-time digital manipulation of motion picture imagery during the digital intermediate process. Baselight was one of the first digital color correction systems to enter the digital intermediate market and has seen wide acceptance in the motion picture industry.) |
Mark Jaszberenyi, Gyula Priskin, Tamas Perlaki(For their contributions to the development of the Lustre color correction system, which enables real-time digital manipulation of motion picture imagery during the digital intermediate process. Lustre is a software solution that enables non-linear, real-time digital color grading across an entire feature film, emulating the photochemical color-timing process.) |
Brad Walker, D. Scott Dewald, Bill Werner, Greg Pettitt(For their contributions furthering the design and refinement of the Texas Instruments DLP Projector technology, achieving a level of performance that enabled color-accurate digital intermediate previews of motion pictures. Working in conjunction with the film industry, Texas Instruments created a high-resolution, color-accurate, high-quality digital intermediate projection system that could closely emulate film-based projection in a theatrical environment.) |
Fujifilm, Ryoji Nishimura, Masaaki Miki , Youichi Hosoya(For the design and development of Fujicolor ETERNA-RDI digital intermediate film, which was designed exclusively to reproduce motion picture digital masters. The Fujicolor ETERNA-RDI Type 8511/4511 digital intermediate film has thinner emulsion layers with extremely efficient couplers made possible by Super-Nano Cubic Grain Technology. This invention allows improved color sensitivity with the ability to absorb scattered light, providing extremely sharp images. The ETERNA-RDI emulsion technology also achieves less color cross-talk for exacting reproduction. Its expanded latitude and linearity provides superior highlights and shadows in a film stock with exceptional latent image stability.) |
Paul Debevec, Tim Hawkins, John Monos, Mark Sagar(For the design and engineering of the Light Stage capture devices and the image-based facial rendering system developed for character relighting in motion pictures. The combination of these systems, with their ability to capture high fidelity reflectance data of human subjects, allows for the creation of photorealistic digital faces as they would appear in any lighting condition.) |
Erwin Melzner, Volker Schumacher, Timo Müller(For the overall concept including the optical and cooling systems (Melzner), for the optical design (Schumacher) and for the mechanical design (Müller), of the Arrimax 18/12 lighting fixture for use in motion picture production. With its choice of vari-focus and specular reflectors, the superior optical and mechanical design of this lighting fixture allows it to operate at 18,000 watts, producing unsurpassed light quality while its innovative cooling system keeps the housing safe to touch.) |
Jacques Delacoux, Alexandre Leuchter(For the concept and electronic design (Delacoux) and for the software and electronic design (Leuchter) of the Transvideo-video assist monitors for the motion picture industry. Using color LCD screens, the Transvideo monitors provide flicker-free video assist bright enough for use in sunlight and have become a ubiquitous tool in both spherical and anamorphic cinematography.) |
Bruno Coumert, Jacques Debize, Dominique Chervin, Christophe Reboulet(For the optical design (Coumert/Debize) and for the mechanical design (Chervin/Reboulet) of the compact and lightweight Angenieux 15-40 and 28-76 zoom lenses for handheld motion picture photography. With focus and zoom functions that can be easily controlled by either the operator or focus puller while filming handheld, these lightweight zoom lenses demonstrate a very high degree of engineering, supporting both ease of use and quick interchange.) |
Ronald Fedkiw, Nick Rasmussen, Frank Losasso Peterson(for the development of the Industrial Light & Magic fluid simulation system) |
Dr. Doug Roble, Ryo Sakaguchi, Nafees Bin Zafar(for the development of the fluid simulation system at Digital Domain) |
Phillip J. Feiner, Chris Bushman, Denis Leconte, Jim Houston(For the design and development of the Rosetta process for creating digital YCM archival masters for digital film restoration) |
Steve Sullivan, Colin Davidson, Francesco Callari, Max Chen(For the design and development of the ILM Image-based Modeling System) |
Simon Robinson, Benjamin Kent, Bill Collis, Anil Kokaram(For the design and development of the Furnace integrated suite of software tools that robustly utilizes temporal coherence for enhancing visual effects in motion picture sequences.) |
Mirko Kovacevic, Howard Preston(For the design and engineering of the Preston Cinema Systems FI+Z wireless remote system.) |
David Grober, Scott Lewallen(For the concept and mechanical design (Grober) and for the electronic and software design (Lewallen) of the Perfect Horizon camera stabilization head. Perfect Horizon effectively neutralizes the extraneous motion encountered in boats, camera cars, snowmobiles or other vehicles, leaving the pan/tilt head and camera stable and level with the horizon.) |
Anatoliy Kokush, Yuriy Popovsky, Oleksiy Zolotarov(For the concept and development of the Russian Arm gyro-stabilized camera crane and the Flight Head. The Russian Arm and Flight Head opened new possibilities for filmmakers. With the ability to be mounted on the roof of almost any car, this remotely-operated crane and camera head can move smoothly in a 360 degree circle around the car, even while it is being driven at high speeds by actors, creating heretofore impossible perspectives.) |
Anatoliy Kokush(For the concept and development of the Cascade series of motion picture cranes. The lightweight structure of the Cascade and Traveling Cascade Cranes enables the filmmaker to achieve heights of up to 70 feet, allowing for the placement of the camera in otherwise impossible locations.) |
Garrett Brown(For the original concept of the Skycam flying camera system -- the first use of 3-D volumetric cable technology for motion picture cinematography. In creating the first remote-controlled, cable-supported flying camera system, Garrett Brown's pioneering efforts have influenced all subsequent development in this area of technology.) |
David Baraff, Michael Kass, Andrew Witkin(For their pioneering work in physically-based computer-generated techniques used to simulate realistic cloth in motion pictures. Their 1998 paper titled Large Steps in Cloth Simulation was a seminal work, providing the key in demonstrating to the industry that the calculations necessary to simulate realistic, complex cloth could be achieved efficiently and robustly. Their work provided the conceptual foundation for many cloth simulation systems in use today.) |
Laurie Frost, Peter Hannan, Richard Loncraine(For the development of the remote camera head known as the Hot-Head. In use for over a quarter of a century, the Hot-Head has brought the possibility of safe, remotely-operated shots to every filmmaker.) |
Gyula Mester , Keith Edwards(For their significant contributions (electronic systems design, Mester and mechanical engineering, Edwards) to and continuing development of the Technocrane telescoping camera crane. With its electronically driven leveling head, adjustable moveable weight carriage, and lightweight, extremely precise telescoping beam elements that allow camera movement during shots, the Technocrane has redefined the state-of-the-art in camera crane technology.) |
Lindsay Arnold, Guy Griffiths, David Hodson, Charlie Lawrence , David Mann(For their development of the Cineon Digital Film Workstation. Cineon pioneered a commercial node-graph compositing system establishing a new visual method for direct manipulation of the compositing process, which influenced and defined modern digital compositing workflows.) |
Kinoton(For the engineering and development of the Kinoton FP 30/38 EC II Studio Projector. This high-speed studio projector produces an image quality equal to projectors with Geneva movements. With its unparalleled shuttle speed, reversibility and acceleration, this projector has set a new standard for post-production viewing as well as in traditional screening facilities.) |
Kenneth L. Tingler , Charles C. Anderson, Diane E. Kestner, Brian A. Schell(For the successful development of a process-surviving antistatic layer technology for motion picture film. This technology successfully controls the static charge buildup on processed intermediate and sound negative films during high speed printing operations.) |
Christopher Alfred, Andrew J. Cannon, Michael C. Carlos, Mark Crabtree, Chuck Grindstaff, John Melanson(For their significant contributions to the evolution of digital audio editing for motion picture post production. Through their respective pioneering efforts with AMS AudioFile, Waveframe and Fairlight, the work of these gentlemen contributed significantly to the development and realization of digital audio workstations with full editing capabilities for motion picture soundtracks.) |
Stephen Regelous(For the design and development of Massive, the autonomous agent animation system used for the battle sequences in The Lord of the Rings trilogy. Massive takes a new approach in simulating behaviors of large numbers of computer-generated extras a.k.a. agents. Each agent contains a primitive software brain used to develop behavioral rules simulating a wide range of behaviors. In The Lord of the Rings trilogy, over 200,000 agents were controlled in several scenes.) |
Glenn Sanders , Howard Stark(For the concept, design and engineering of the portable Deva Digital Audio Disk Recorder. This innovative design employs advanced hard disk recording technology and digital audio techniques for use in both production and post-production recording applications.) |
Mark Elendt, Paul H. Breslin, Greg Hermanovic, Kim Davidson(For their continued development of the procedural modeling and animation components of their Prisms program, as exemplified in the Houdini software package. Through a procedural building-block process, the Houdini software is used to simulate natural phenomena using particle effects and complex three-dimensional models.) |
Leslie Gutierrez, Diane E. Kestner, James Merrill, David Niklewicz(For the design and development of the Kodak Vision Premier Color Print Film, 2393. This film stock provides filmmakers with enhanced color saturation, higher contrast and darker blacks, producing a bold, colorful 'look' on the theater screen.) |
Dedo Weigert, Depu Jin, Franz Petters(for the concept (Weigert), for the optical calculations (Jin) and for the mechanical construction (Petters) of the Dedolight 400D. This uniquely designed set light provides superior performance, reliability and ease of use. Combined with its excellent array of accessories, the Dedolight 400D is an outstanding engineering achievement.) |
John M. Eargle, D.B. "Don" Keele, Mark Engebretson(For the concept, design and engineering of the modern constant-directivity, direct radiator style motion picture loudspeaker systems. The work of John M. Eargle, D.B. Don Keele and Mark E. Engebretson has resulted in the over 20-year dominance of constant-directivity, direct radiator bass style cinema loudspeaker systems.) |
Franz Kraus, Johannes Steurer, Wolfgang Riedel(For the design and development of the ARRILASER Film Recorder. The ARRILASER film recorder demonstrates a high level of engineering resulting in a compact, user-friendly, low-maintenance device while at the same time maintaining outstanding speed, exposure ratings and image quality.) |
Peter Kuran, Sean Coughlin, Joseph A. Olivier, William S. Conner(For the invention (Kuran) and the engineering and development (Coughlin/Olivier/Conner) of the RCI-Color Film Restoration Process. This photo-chemical process restores color to faded color negative using off-the-shelf film stocks with a unique approach. The resulting film intermediate can be used to create a new internegative.) |
Makoto Tsukada, Shoji Kaneko, Imagica, Daijiro Fujie(For the engineering excellence and the impact on the motion picture industry of the Imagica 65/35 Multi-Format Optical Printer. This liquid-gate optical printer offers ease of set-up and change-over to various formats from 35mm to 65mm 15-perf with both additive and subtractive lamp houses.) |
Steven Gerlach, Gregory Farrell , Christian Lurin(For the design, engineering and implementation of the Kodak Panchromatic Sound Recording Film. Allowing all four soundtrack systems to be exposed on a single negative with relative ease, this stock has allowed single inventory prints, facilitating the more economic distribution of motion pictures.) |
Paul J. Constantine, Peter M. Constantine(For the design and development of the CELCO Digital Film Recorder products. CELCO recorder products have had a significant impact on the industry through continual improvements in their technology.) |
Iain Neil, Albert K. Saiki(IAIN NEIL for the concept and optical design and AL SAIKI for the mechanical design of the Panavision Primo Macro Zoom Lens (PMZ).) |
Albert Mayer Sr., Al Mayer Jr., Iain Neil, Brian Dang(For the mechanical design (Mayer, Sr./Mayer, Jr.), for the optical design (Neil) and for the electronic design (Dang) of the Panavision Millennium XL Camera System.) |
Joe Wary, Gerald Painter, Colin F. Mossman(For the design and development of the Deluxe Laboratories Multi Roller Film Transport System. This release print system at Deluxe Laboratories utilizes a revolutionary design allowing for higher print volumes, reduced space requirements for loop racks and elevators, and safer operation) |
Alvah J. Miller, Paul D. Johnson(For the electronic and software design of the Lynx C-50 Camera Motor System. This camera motor, operated with programmable microprocessors, achieves an unprecedented range of precisely controlled speeds in stand-alone cameras or when synchronized to motion-control systems.) |
Akai(For the design and development of the DD8plus digital audio dubber specifically designed for the motion picture industry. [These] digital audio dubbers have afforded the post-production community a faster, more cost-effective means of playing back hundreds of digital audio tracks for pre-mixing or final mixing in creating motion picture sound tracks. They also offer individual track slipping in multiple track configurations, random access recall, and both destructive and non-destructive editing capabilities, eliminating the requirements for razor blade conforming.) |
Fairlight(For the design and development of the DAD digital audio dubber specifically designed for the motion picture industry. [These] digital audio dubbers have afforded the post-production community a faster, more cost-effective means of playing back hundreds of digital audio tracks for pre-mixing or final mixing in creating motion picture sound tracks. They also offer individual track slipping in multiple track configurations, random access recall, and both destructive and non-destructive editing capabilities, eliminating the requirements for razor blade conforming.) |
Advanced Digital Systems Group(For the design and development of the Sony DADR 5000 digital audio dubber specifically designed for the motion picture industry. [These] digital audio dubbers have afforded the post-production community a faster, more cost-effective means of playing back hundreds of digital audio tracks for pre-mixing or final mixing in creating motion picture sound tracks. They also offer individual track slipping in multiple track configurations, random access recall, and both destructive and non-destructive editing capabilities, eliminating the requirements for razor blade conforming.) |
Timeline Incorporated(For the design and development of the MMR 8 digital audio dubber specifically designed for the motion picture industry. [These] digital audio dubbers have afforded the post-production community a faster, more cost-effective means of playing back hundreds of digital audio tracks for pre-mixing or final mixing in creating motion picture sound tracks. They also offer individual track slipping in multiple track configurations, random access recall, and both destructive and non-destructive editing capabilities, eliminating the requirements for razor blade conforming.) |
Nick Phillips(For the design and development of the three-axis Libra III remote control camera head. The Libra III head can accept a range of film cameras and their lenses and allows the operator to add stabilization to each axis for medium focal length lenses. Motion capture and playback are also selectable features. [Stage Operations]) |
Fritz Gabriel Bauer(For the concept, design and engineering of the Moviecam Superlight 35mm Motion Picture Camera. The quiet Moviecam Superlight is an extremely small and light 35mm professional motion picture sound camera which allows the cinematographer to film in ways and situations that were never before possible. [Camera]) |
Iain Neil, Rick Gelbard, Panavision(IAIN NEIL for the optical design, RICK GELBARD for the mechanical design, and PANAVISION, INC. for the development of the Millennium Camera System viewfinder. This unique and versatile viewfinder with two independent viewing positions provides a very high-resolution video assist image, greatly enhancing its application for on-set compositing or non-linear editing. [Camera]) |
Huw Gwylym, Karl Lynch, Mark Crabtree(For the design and development of the AMS Neve Logic Digital Film Console for motion picture sound mixing. This console allows the user multi-position mixing capabilities, stem routing predub inputs and other filmcentric attributes. This is the first fully digital audio mixing console specifically designed for post-production film mixing. [Sound]) |
James Moultrie, Mike Salter, Mark Craig Gerchman(JAMES MOULTRIE for the mechanical design, and to MIKE SALTER and MARK CRAIG GERCHMAN for the optical design of the Cooke S4 Range of Fixed Focal Length Lenses for 35mm motion picture photography. These state-of-the-art fixed focal length 35mm lenses are the result of intense efforts to meet industry requirements in several areas. Providing superior performance in several cinematographic aspects, these lenses include a unique linear focus system. [Lenses and Filters]) |
Marlowe A. Pichel(For development of the process for manufacturing Electro-formed Metal Reflectors which, when combined with the DC Short Arc Xenon Lamp, became the worldwide standard for motion picture projection systems. The impact of the Electro-formed Metal Reflector over the decades has completely changed the presentation side of the motion picture industry allowing the replacement of the carbon arc light source and the implementation of automated projection systems. [Projection]) |
L. Ron Schmidt(For the concept, design and engineering of the Linear Loop Film Projectors. These radically new motion picture film projectors provide superior print handling, image steadiness, screen illumination and enhanced viewer experience by means of an extremely simple air-driven mechanical transport system. [Projection]) |
Nat Tiffen(For the production of high-quality, durable, laminated color filters for motion picture photography. Materials of uniform color characteristics are implanted between layers of optical glass and bonded together under extremes of heat and pressure. The outer surfaces are ground and polished to specified close tolerances, free of distortion and resistant to changes in temperature or humidity, then bound with a protective metal ring. [Lenses and Filters]) |
Thomas Stockham, Robert B. Ingebretsen(For their pioneering work in the areas of waveform editing, crossfades and cut-and-paste techniques for digital audio editing. The foundation of current digital audio editing equipment for motion pictures has its roots in the late seventies work of these digital pioneers.) |
James A. Moorer(For his pioneering work in the design of digital signal processing and its application to audio editing for film. This early work in systems architecture and software has had a significant impact on the digital creation of sound effects and the editing of audio for motion picture sound tracks.) |
Stephen J. Kay(For the design and development of the Shock Block. This specially designed ground fault interrupter eliminates the electric shock hazard when working in water, wet conditions or from an accidentally exposed power line.) |
Gary Tregaskis, Dominique Boisvert, Phillippe Panzini, Andre LeBlanc(For the primary design (Tregakis) and for the development and implementation (Boisvert/Panzini/LeBlanc) of the Flame and Inferno software.) |
Robert Predovich, John Scott, Mohamed Ken T. Husain , Cameron Shearer(For the design and implementation of the Soundmaster Integrated Operations Nucleus operating environment. The Soundmaster system provides motion picture audio post production facilities with a completely integrated capability for synchronization of audio and picture elements with the numerous methods of synchronization in use today) |
Roy B. Ference, Steven R. Schmidt, Richard J. Federico, Rockwell Yarid, Michael E. McCrackan(For the design and development of the Kodak Lightning Laser Recorder. The Kodak Lightning laser recorder system established higher operational and quality standards and achieved wide industry acceptance for digital film recording onto intermediate film stock.) |
Colin F. Mossman, Hans Leisinger, George Rowland(For the concept and design of the Deluxe High Speed Spray Film Cleaner. This innovative and effective high speed film cleaning machine is unique in its use of spray technology, providing the flexibility to use alternative solvents, and to anticipate changes in environmental legislation.) |
Arnold & Richter Cine Technik, Arri(For the concept and engineering of the Arriflex 435 Camera System. The 435 enhances the creative process via its programmability and reliability, and provides the camera operator with the widest feature and performance capability of any MOS camera in use today.) |
Arnold & Richter Cine Technik, Carl Zeiss AG(For the concept and optical design of the Carl Zeiss/Arriflex Variable Prime Lenses. This series of variable prine lenses opens many creative possibilities, since any focal length can be continuously selected throughout the entire range. They offer sharp, high-contrast, high-resolution images with minimized vignetting, superior to many prime lenses.) |
Derek C. Lightbody(For the design and development of Aurasoft Luminaires. The Aurasoft offers a radical new type of reflector design for the production of soft, very even and relatively shadowless light, with superior coverage and significantly higher intensity than existing softlights.) |
Mark Roberts, Ronan Carroll, Assaff Rawner , Paul Bartlett, Simon Wakley(For the creation of the Milo Motion-Control Crane. This radically original and effective solution to the problems of high-speed camera motion was achieved with the combination of novel geometry and dedicated 3-dimensional control software.) |
Michael Sorensen, Dick Alexander, Donald Trumbull(For advancing the state-of-the-art of real-time motion-control, as exemplified in the Gazelle and Zebra camera dolly systems. Over the past decade, Sorensen, Alexander and Trumbull have improved the speed, repeatability and portability of robotic camera platforms through novel engineering concepts and the pioneering use of composite materials.) |
Ronald Uhlig, Thomas F. Powers , Fred M. Fuss(For the design and development of KeyKode latent-image barcode key numbers. KeyKode numbers are machine-readable bar codes on camera negative films that exactly replicate the human-readable key numbers. Together with an appropriate reader and database software, they reduce errors and speed important post-production operations, leading to significant cost savings.) |
Iain Neil, Panavision, Tak Miyagishima(For the optical design (Neil), the mechanical design (Miyagishima and the concept and development (Panavision) of the Primo Series of spherical prime lenses for 35mm cinematography.) |
Bill Kovacs, Roy Hall(For the creative leadership (Kovacs) and the principal engineering (Hall) efforts that led to the Wavefront Advanced Visualizer computer graphics system.) |
John Gibson, Rob Krieger, Milan Novacek, Glen Ozymok , Dave Springer(For the development of the geometric modeling component of the Alias PowerAnimator System.) |
Dominique Boisvert, Rejean Gagne, Daniel Langlois, Richard Laperriere(For the development of the Actor animation component of the Softimage computer animation system. [) |
Eben Fiske Ostby, William Reeves, Samuel J Leffler, Tom Duff(For the development of the Marionette Three-Dimensional Computer Animation System.) |
Craig Reynolds(For his pioneering contributions to the development of three-dimensional computer animation for motion picture production.) |
Richard Shoup, Alvy Ray Smith, Tom Porter(For their pioneering efforts in the development of digital paint systems used in motion picture production.) |
Kirk Handley, Ray Meluch, Scott Robinson, Wilson H. Allen , John Neary(For the design, development and implementation of the Dolby CP500 Digital Cinema Processor.) |
Joel W. Johnson(For the unique design improvement in fluid head counter-balancing techniques as used in their Model 2575.) |
Al Jensen, Chuck Headley, Jean Messner, Hazem Nabulsi(For the production of a self-contained, flicker-free, Color Video-Assist Camera.) |
John Schlag , Brian Knep, Zoran Kacic-Alesic , Tom Williams(For the development of the Viewpaint 3D Paint System for film production work.) |
William Reeves(For the original concept and the development of particle systems used to create computer generated visual effects in motion pictures.) |
Jim Hourihan(For the primary design and development of the interactive language-based control of partical systems as embodied in the Dynamation software package.) |
Jonathan Erland, Kay Beving Erland(For the development of the Digital Series Traveling Matte Backing System used for composite photography in motion pictures.) |
Arnold & Richter Cine Technik(For the development of the Arriflex 535 Series of Cameras for motion picture cinematography.) |
DTS(For the design and development of the DTS Digital Sound System for motion picture exhibition.) |
Dolby Laboratories(For the design and development of the SR-D Digital Sound System for motion picture exhibition.) |
Sony Corporation(For the design and development of the SDDS Digital Sound System for motion picture exhibition.) |
Howard Flemming , Ronald Uhlig(For their pioneering work leading to motion picture digital sound.) |
Ronald C. Goodman, Attila Szalay, Steven Sass, Spacecam Systems(For the design of the SpaceCam gyroscopically stabilized Camera System.) |
Colin F. Mossman, Joe Wary, Hans Leisinger, Gerald Painter, Deluxe Entertainment Services Group(For the design and development of the Deluxe Quad Format Digital Sound Printing Head.) |
David Gilmartin, Johannes Borggrebe, Jean-Pierre Gagnon, Frank Ricotta, Technicolor, Inc.(For the design and development of the Technicolor Contact Printer Sound Head.) |
Iain Neil, Rick Gelbard, Eric Dubberke, Panavision(For the optical design, mechanical design, engineering and development of the Primo 3:1 zoom lens.) |
Martin S. Mueller(For the design and development of the MSM 9801 IMAX 65mm/15 perf production motion picture camera.) |
Alvy Ray Smith, Edwin Catmull, Tom Porter, Tom Duff(For their pioneering inventions in Digital Image Compositing.) |
Gary Demos, Dan Cameron, David DiFrancesco, Gary Starkweather, Scott Squires(For their pioneering work in the field of film input scanning.) |
Ray Feeney, Will McCown, Bill Bishop , Les Dittert(For their development work with area array CCD (Charge Coupled Device) film input scanning systems.) |
Lincoln Hu, Mike MacKenzie, Glenn Kennel , Mike Davis(For their joint development work on a linear array CCD (Charge Coupled Device) film input scanning system.) |
Iain Neil, Albert K. Saiki, Panavision(For the optical design (Neil) and for the mechanical design (Saiki) of the Panavision 11:1 Primo Zoom lens for motion picture photography.) |
James Ketcham(For the concept and design of the MC211 micro processor based motion controller for synchronizing sprocketed film with time-code based machines.) |
William J. Warner , Eric C. Peters , Michael E. Phillips, Tom A. Ohanian, Patrick D. O'Connor, Joe H. Rice(For the concept (William J. Warner/Peters), for the system design (Phillips/Ohanian), and for the engineering (O'Connor/Rice) of the Avid Film Composer for motion picture editing.) |
Paul Bamborough, Nick Pollack, Arthur Wright, Neil Harris, Duncan MacLean(For the concept (Bamborough), the hardware development (Pollack/Wright and the software development (Harris/MacLean) of the digital Lightworks Editor for motion editing.) |
George Sauve, Bill Bishop , Arpag Dadourian , Ray Feeney, Richard Patterson(For the Cinefusion software implementation of the Ultimatte Blue Screen Compositing Technology.) |
Mark Leather, Les Dittert, Douglas Smythe, George H. Joblove(For the concept and development of the Digital Motion Picture Retouching System for removing visible rigging and dirt/damage artifacts from original motion picture imagery.) |
Fritz Gabriel Bauer(For the design, development and manufacture of the Moviecam Compact Modular 35mm motion picture camera system.) |
Pat Hanrahan, Anthony A. Apodaca, Loren Carpenter, Robert L. Cook, Edwin Catmull, Darwyn Peachey, Tom Porter(For development of "RenderMan" software providing the means to digitally create scenes or elements that may be composited with other footage.) |
Claus Wiedemann, Robert Orban, Dolby Laboratories(For the design (Wiedemann/Orban) and the development, of the Dolby Labs 'Container.') |
Kenny Bates(For the design and development of the Bates Decelerator System for accurately and safely arresting the descent of stunt persons in high freefalls.) |
Al Mayer, Iain Neil, George Kraemer, Hans Spirawski, Bill Eslick, Don Earl(For camera design (Mayer), the optical design (Kraemer/Spirawski), the opto-mechanical design (Eslick) and the technical support (Earl) in developing the Panavision System 65 Studio Sync Sound Reflex Camera for 65mm motion picture photography.) |
Douglas Trumbull, Geoffrey H. Williamson, Robert D. Auguste, Edmund M. Di Giulio(For concept, (Trumball), the movement design (Williamson), the electronic design (Auguste) and the camera system (DiGuilio) of the CP-65 Showscan Camera System for 65mm motion picture photography (first modern 65mm camera developed in 25 years).) |
Otto Blaschek, Arri, ARRI, Austria, Engineering department(For the design and development of the Arriflex 765 Camera System for 65mm motion picture photography.) |
Iain Neil, Albert K. Saiki, Panavision(For the optical design (Neil), the mechanical design (Saiki) and the concept and development (Panavision) of the Primo Zoom Lens for 35m cinematography.) |
Georg Thoma , Heinz Feierlein , Sachtler AG Engineering Department(For the design (Thoma) and the development (Feierlein/Sachtler) for a range of fluid tripod heads.) |
Harry J. Baker(For the design and development of the first full fluid-action tripod head with adjustable degrees of viscous drag.) |
Guido Cartoni(For his pioneering work in developing the technology to achieve selectable and repeatable viscous drag modules in fluid tripod heads.) |
Ray Feeney, Richard Keeney , Richard J. Lundell(For the software development and adaptation of the Solitaire Film Recorder that provides a flexible, cost-effective film recording system.) |
Franz Fazakas, Brian Henson, Dave Housman, Peter Miller, John Stephenson(For the development of the Henson Performance Control System.) |
Mario Celso(For his pioneering work in the design, development and manufacture of equipment for carbon arc and xenon power supplies and igniters used in motion picture projection.) |
Randy Cartwright, David Coons, Lemuel Davis, Thomas Hahn, Jim Houston, Mark Kimball, Dylan Kohler, Peter Nye, Michael Shantzis, David F. Wolf, Walt Disney Animation Studios(For the design and development of the CAPS production system for feature film animation.) |
George Worrall(For the design, development and manufacture of the Worrall geared camera head for motion picture production.) |
Bruce Wilton, Carlos Icinkoff(For the development of the Mechanical Concepts Optical Printer Platform.) |
ARRI Engineering Department(For the continued design improvements of the Arriflex BL Camera System, culminating in the 35BL-4S model.) |
Fujifilm(For the development and introduction of the F-Series of color negative films covering the range of film speeds from EI 64 to EI 500.) |
Manfred G. Michelson(For the design and development of the first sprocket-driven film transport system for color print film processors which permits transport speeds in excess of 600 feet per minute.) |
John W. Lang, Walter Hrastnik, Charles J. Watson(For the development and manufacture of a modular continuous contact motion picture film printer.) |
James Ketcham(For the excellence in engineering and the broad adaptability of the SDA521B Advance/Retard system for magnetic film sound dubbing.) |
J. Noxon Leavitt, ISTEC Incorporated(For the invention of (Leavitt) and for the continuing development (ISTEC) of the WESCAM Stabilized Camera System.) |
Geoffrey H. Williamson, Robert D. Auguste(For the design and development (Williamson) and the electronic design and development (Auguste) of the Wilcam W-7 200 frames per second VistaVision Rotating Mirror Reflex camera.) |
James L. Fisher(For the design and manufacture of a small, mobile motion picture camera platform known as the Fisher Model Ten Dolly.) |
Klaus Resch, Erich Fitz, Panther(For the design (Resch) and for the development (Erich Fitz and FGV Schmidle & Fitz) of the Super Panther MS-180 camera dolly.) |
Roy W. Edwards, Photo-Sonics Engineering Staff(For the design and development of the Photo-Sonics 35mm-4ER High-Speed Motion Picture Camera with Reflex Viewing and Video Assist.) |
Otto Blaschek, Arri, Arnold & Richter Engineering Staff(For the concept and engineering of the Arriflex 35-3 Motion Picture Camera.) |
Bill Tondreau, Alvah J. Miller, Paul D. Johnson, Peter Regla, Dan Slater, Bud Elam, Joe Parker , Billy Bryan, Jerry Jeffress , Ray Feeney, Bill Holland, Kris Brown(For their individual contributions and the collective advancements they have brought to the motion picture industry in the field of motion control technology.) |
Willi Burth, Kinoton(For the invention and development of the Non-rewind Platter System for motion picture presentations.) |
Montage Group, Ronald C. Barker , Chester L. Schuler(For the development (Montage) and the invention (Barker/Schuler) of the Montage Picture Processor electronic film editing system.) |
Colin F. Mossman, Rank Film Laboratories Research and Development Group(For creating a fully-automated, film handling system for improving productivity of high speed film processing.) |
Eastman Kodak(For the development of Eastman Color High Speed Daylight Negative Film 5297/7297.) |
Eastman Kodak(For the development of Eastman Color High Speed SA Negative Film 5295 for blue-screen traveling matte photography.) |
Fritz Gabriel Bauer(For the invention and development of the improved features of the Moviecam Camera System.) |
Zoran Perisic(For the Zoptic dual-zoom front projection system for visual effects photography.) |
Carl Zeiss AG(For the design and development of a series of super-speed lenses for motion picture photography.) |
Bran Ferren, Charles Harrison, Kenneth Wisner(For the concept and design of an advanced optical printer.) |
Richard Benjamin Grant, Ron Grant(For their invention of the Film Composer's Time Processor.) |
Anthony D Bruno, John L. Baptista, Manfred G. Michelson, Bruce W. Keller(For the design and engineering of a Continuous-Feed Printer.) |
Robert M. Greenberg, Joel Hynek, Eugene Mamut, Alfred Thumim, Elan Lipschitz, Darryl A. Armour(For the design and development of the RGA/Oxberry Compu-Quad Special Effects Optical Printer.) |
Fritz Sennheiser(For the invention of an interference tube directional microphone.) |
Richard Edlund, Gene Whiteman, David A. Grafton, Mark West , Jerry Jeffress , Bob Wilcox(For the design and development of a Zoom Aerial (ZAP) 65mm Optical Printer.) |
William L. Fredrick , Hal Needham(For the design and development of the Shotmaker Elite camera car and crane.) |
IMAX Corporation(For a method of filming and exhibiting high-fidelity, large-format, wide angle motion pictures.) |
Ernst Nettmann , Edward Phillips, Carlos DeMattos(For the invention (Nettman) and the development (Phillips/DeMattos) of the CamRemote for motion picture photography.) |
Myron Gordin, Joe P. Crookham, Jim Drost, David Crookham(For the invention of a method of transporting adjustable, high-intensity luminaires and their application to the motion picture industry.) |
Donald A. Anderson, Diana Reiners(For the development of Cinetrak Magnetic Film #350/351 for motion picture sound recording.) |
Barry M. Stultz, Ruben Avila, Wes Kennedy(For the development of FPC 200 PB Fullcoat Magnetic Film for motion picture sound recording.) |
Barry M. Stultz, Ruben Avila, Wes Kennedy , John Mosely(For the formulation and application of an improved sound track stripe to 70mm motion picture film, and for the engineering research involved therein.) |
Kenneth Richter(For the design and engineering of the R-2 Auto-Collimator for examining image quality at the focal plane of motion picture camera lenses.) |
Günther Schaidt, Rosco Laboratories, Inc.(For the development of an improved, non-toxic fluid for creating fog and smoke for motion picture production.) |
John Whitney Jr., Gary Demos(For the practical simulation of motion picture photography by means of computer-generated images.) |
Jonathan Erland, Roger Dorney(For the engineering and development of a reverse bluescreen traveling matte process for special effects photography.) |
Gerry Turpin(For the design, engineering and development of an on-camera device providing contrast control, sourceless fill light and special effects for motion picture photography.) |
Gunnar P. Michelson(For the engineering and development of an improved, electronic, high-speed, precision light valve for use in motion picture printing machines.) |
Colin F. Mossman, Rank Film Laboratories Research and Development Group(For the engineering and implementation of a 4,000 meter printing system for motion picture laboratories.) |
Sante Zelli , Salvatore Zelli(For the continuing engineering, design and development that has resulted in the Elemack Camera Dolly System for motion picture production.) |
Leonard Chapman(For the engineering design, development and manufacture of the PeeWee Camera Dolly for motion picture production.) |
Mohammad S. Nozari(For the research and development of the 3M Photogard protective coating for motion picture film.) |
Brianne Murphy, Donald Schisler(For the concept, design and manufacture of the MISI Camera Insert Car and Process Trailer.) |
Jacobus L. Dimmers(For the engineering and manufacture of the Teccon Enterprises' magnetic transducer for motion picture sound recording and playback.) |
Nelson Tyler(For the progressive development and improvement of the Tyler Helicopter motion picture camera platform.) |
Leonard L. Sokolow, Howard T. LaZare(For the concept and design and for the development of the Consolidated Film Industries' Stroboscan motion picture film viewer.) |
Richard Edlund, Industrial Light & Magic(For the concept and engineering of a beam-splitter optical composite motion picture printer.) |
Richard Edlund, Industrial Light & Magic(For the engineering of the Empire Motion Picture Camera System.) |
Edward J. Blasko, Roderick T. Ryan(For the application of the Prostar Microfilm Processor for motion picture title and special optical effects production.) |
Jean-Marie Lavalou, Alain Masseron, David W. Samuelson(For the engineering and development of the Louma Camera Crane and remote control system for motion picture production.) |
Edward B. Krause(For the engineering and manufacture of the micro-demand drive for continuous motion picture film processors.) |
Ross Taylor(For the concept and development of a system of air guns for propelling objects used in special effects motion picture production.) |
Bernhard Kuhl, Werner Block(For the progressive engineering and manufacture of the OSRAM HMI light source for motion picture color photography.) |
David A. Grafton(For the optical design and engineering of a telecentric anamorphic lens for motion picture optical effects printers.) |
Neiman Tillar Associates, Mini-Micro Systems(For for the creative development, and for the design and engineering of an Automated Computer-Controlled Editing Sound System (ACCESS) for motion picture post-production.) |
Ray Dolby, Ioan Allen, David Robinson, Stephen M. Katz, Philip S.J. Boole(For the development and implementation of an improved Sound Recording and Reproducing System for Motion Picture Production and Exhibition.) |
Joseph D. Kelly, Emory M. Cohen, Barry K. Henley, Hammond H. Holt, John Agalsoff Sr.(For the concept and development of a Post-production Audio Processing System for Motion Picture Films. [Sound]) |
Panavision(For the concept and engineering of the improvements incorporated in the Panaflex Motion Picture Camera. [Camera]) |
N. Paul Kenworthy Jr., William R. Latady(For the invention and development of the Kenworthy Snorkel Camera System for motion picture photography. [Camera]) |
John Dykstra, Alvah J. Miller, Jerry Jeffress(For the development of a facility uniquely oriented toward visual effects photography, and for the engineering of the Electronic Motion Control System used in concert for multiple exposure visual effects motion picture photography. [Systems]) |
Eastman Kodak(For the development and introduction of a new duplicating film for motion pictures. [Film]) |
Stefan Kudelski(For the engineering of the improvements incorporated in the Nagra 4.2L sound recorder for motion picture production. [Sound]) |
Consolidated Film Industries, Barnebey-Cheney Co.(For the development of a system for the recovery of film-cleaning solvent vapors in a motion-picture laboratory.) |
William L. Graham, Manfred G. Michelson, Geoffrey F. Norman, Siegfried Seibert(For the development and engineering of a continuous, high-speed, Color Motion Picture Printing System.) |
Chadwell O'Connor(For the concept and engineering of a fluid-damped camera-head for motion picture photography.) |
William F. Miner , Westinghouse Electric(For the development and engineering of a solid-state, 500 kilowatt, direct-current static rectifier for motion picture lighting.) |
Joseph D. Kelly(For the design of new audio control consoles which have advanced the state of the art of sound recording and rerecording for motion picture production. [Sound]) |
The Burbank Studios(Sound Department, For the design of new audio control consoles engineered and constructed by the Quad-Eight Sound Corporation. [Sound]) |
Samuel Goldwyn Studio Sound Department(Sound Department, For the design of a new audio control console engineered and constructed by the Quad-Eight Sound Corporation. [Sound]) |
Quad-Eight Sound Corporation(For the engineering and construction of new audio control consoles designed by The Burbank Studios Sound Department and by the Samuel Goldwyn Studios Sound Department. [Sound]) |
Waldon O. Watson, Richard J. Stumpf, Robert J. Leonard, Universal City Studio Sound Department(For the development and engineering of the Sensurround System for motion picture presentation. [Sound]) |
Joachim Gerb, Erich Kästner(For the development and engineering of the Arriflex 35BL motion picture camera.) |
Magna-Tech Electronic Co., Inc.(For the engineering and development of a high-speed re-recording system for motion picture production.) |
William W. Valliant , Howard F. Ott, Gerry Diebold(For the development of a liquid-gate system for motion-picture printers.) |
Harold A. Scheib, Clifford H. Ellis, Roger Banks(For the concept and engineering of the Model 2101 optical printer for motion picture optical effects.) |
Joseph E. Bluth(For research and development in the field of electronic photography and transfer of video tape to motion picture film.) |
Edward H. Reichard, Howard T. LaZare, Edward Efron(For the engineering of a computerized light valve monitoring system for motion picture printing.) |
Panavision(For the development and engineering of the Panaflex motion picture camera.) |
John Wilkinson(For the development and engineering of a system of xenon arc lamphouses for motion picture projection.) |
Leonard L. Sokolow, Edward H. Reichard(For the concept and engineering of the Color Proofing Printer for motion pictures.) |
Hazeltine Corporation(For the design and development of the Hazeltine Color Film Analyzer.) |
Fouad Said(For the design and introduction of the Cinemobile series of equipment trucks for location motion picture production.) |
Juan de la Cierva, Dyna Sciences Corporation(For the design and development of the Dynalens optical image motion compensator.) |
Donald W. Norwood(For the design and development of the Norwood Photographic Exposure Meters.) |
Eastman Kodak, Producers Service Company(For the development of a new high-speed step-optical reduction printer.) |
Edmund M. Di Giulio, Niels G. Petersen, Norman S. Hughes(For the design and application of a conversion which makes available the reflex viewing system for motion picture cameras.) |
Optical Coating Laboratory Inc(For the development of an improved anti-reflection coating for photographic and projection lens systems.) |
Eastman Kodak(For the introduction of a new high speed motion picture color negative film.) |
Panavision(For the conception, design and introduction of a 65mm hand-held motion picture camera.) |
Todd Soundelux, Mitchell Camera(For the design and engineering of the Todd-AO hand-held motion picture camera.) |
Mitchell Camera(For the design and development of the Mitchell Mark II 35mm Portable Motion Picture Reflex Camera.) |
Arri(For the design and development of the Arriflex 35mm Portable Motion Picture Reflex Camera.) |
Arthur J. Hatch(For the design and development of an Air Blown Carbon Arc Projection Lamp.) |
Stefan Kudelski(For the design and development of the Nagra portable 1/4 inch tape recording system for motion picture sound recording.) |
Sidney P. Solow, Edward H. Reichard, Carl W. Hauge, Job Sanderson(For the design and development of a versatile Automatic 35mm Composite Color Printer.) |
Pierre Angénieux(For the development of a ten-to-one Zoom Lens for cinematography.) |
Ralph Chapman(For the design and development of an advanced motion picture camera crane.) |
Albert S. Pratt , James L. Wassell, Hans-Cristof Wohlrab(For the design and development of a new and improved automatic motion picture additive color printer.) |
Philips(For the design and engineering of the Norelco Universal 70/35mm motion picture projector.) |
Charles E. Sutter, Louis C. Kennell , William B. Smith(For the engineering and application to motion picture production of a new system of electric power distribution.) |
Sylvania Electric Products(For the development of a hand held high-power photographic lighting unit known as the Sun Gun Professional.) |
James Dale, S. Wilson, H.E. Rice, John Rude, Laurie Atkin, Wadsworth E. Pohl, H. Peasgood, Technicolor Motion Picture Corporation(For a process of automatic selective printing.) |
20th Century Fox Research Department, Earl I. Sponable, Herbert Bragg, Deluxe Entertainment Services Group, F.D. Leslie, R.D. Whitmore, A.A. Alden, Endel Pool, James B. Gordon(For a system of decompressing and recomposing CinemaScope pictures for conventional aspect ratios.) |
Ampex(For the production of a well-engineered multi-purpose sound system combining high standards of quality with convenience of control, dependable operation and simplified emergency provisions.) |
Douglas Shearer, Robert E. Gottschalk , Richard Moore(For the development of a system of producing and exhibiting wide-film motion pictures known as Camera 65.) |
Wadsworth E. Pohl, William Evans, Werner Hopf, S.E. Howse , Thomas P. Dixon, SRI International, Technicolor Motion Picture Corporation(For the design and development of the Technicolor Electronic Printing Timer.) |
Wadsworth E. Pohl, Jack Alford, Henry Imus, Joseph Schmit, Paul Faßnacht, Al Lofquist , Technicolor Motion Picture Corporation(For the development and practical application of equipment for wet printing.) |
Howard S. Coleman, A. Francis Turner, Harold H. Schroeder, James R. Benford, Harold E. Rosenberger(For the design and development of the Balcold Projection Mirror.) |
Robert P. Gutterman, Lipsner-Smith Corporation(For the design and development of the CF-2 Ultra-sonic Film Cleaner.) |
Don W. Prideaux, Leroy G. Leighton, General Electric Lamp Division(For the development and production of an improved 10 kilowatt lamp for motion picture set lighting.) |
Panavision(For the design and development of the Auto Panatar anamorphic photographic lens for 35mm CinemaScope photography.) |
Optique & Précision de Levallois(For the development of a high speed vari-focal photographic lens.) |
Harlan L. Baumbach, Lorand Wargo, Howard M. Little, Unicorn Engineering Corporation(For the development of an Automatic Printer Light Selector.) |
Eastman Kodak(For Eastman Tri-X Panchromatic Negative Film.) |
Farciot Edouart, Hal Corl, Paramount Studio Transparency Department(For the engineering and development of a double-frame, triple-head background projector.) |
Reeves Soundcraft Corporation(For their development of a process of applying stripes of magnetic oxide to motion picture film for sound recording and reproduction.) |
Technicolor Motion Picture Corporation(For an improved method of color motion picture photography under incandescent light.) |
Gordon Jennings, S. L. Stancliffe, Paramount Studio Special Photographic Department, Paramount Studio Engineering Department(For the design, construction and application of a servo-operated recording and repeating device.) |
Olin L. Dupy(For the design, construction and application of a motion picture reproducing system.) |
RCA(For pioneering direct positive recording with anticipatory noise reduction.) |
James B. Gordon, 20th Century-Fox Studio Camera Department(For the design and development of a multiple image film viewer.) |
John P. Livadary, Floyd Campbell, L. W. Russell, Columbia Studio Sound Department(For the development of a multi-track magnetic re-recording system.) |
Loren L. Ryder, Paramount Studio Sound Department(For the first studio-wide application of magnetic sound recording to motion picture production.) |
Victor Caccialanza, Maurice Ayers, Paramount Studio Set Construction Department(For the development and application of Paralite, a new lightweight plaster process for set construction.) |
Nick Kalten, Louis J. Witte, 20th Century-Fox Studio Mechanical Effects Department(For a process of preserving and flame-proofing foliage.) |
C. C. Davis, Electrical Research Products Division of Western Electric Company(For the development and application of an improved film drive filter mechanism.) |
C. R. Daily, Paramount Studio Laboratory, Paramount Studio Engineering Department(For the development and first practical application to motion picture and still photography of a method of increasing film speed as first suggested to the industry by E. I. duPont de Nemours & Company.) |
Stephen Dunn, RKO Radio Studio Sound Department, RCA(For the design and development of the electronic compressor-limiter.) |
Farciot Edouart, Earle Morgan, Barton Thompson, Paramount Studio Engineering Department, Paramount Studio Transparency Department(For the development and practical application to motion picture production of a method of duplicating and enlarging natural color photographs, transferring the image emulsions to glass plates and projecting these slides by especially designed stereopticon equipment.) |
DuPont Photo Products Department(For the development of fine-grain motion picture films.) |
Carroll Clark, F. Thomas Thompson, RKO Radio Studio Art Department , RKO Radio Studio Miniature Department(For the design and construction of a moving cloud and horizon machine.) |
Daniel B. Clark, 20th Century Fox(For the development of a lens calibration system and the application of this system to exposure control in cinematography.) |
Electrical Research Products, Inc.(For the development of the precision integrating sphere densitometer.) |
RCA(For the design and development of the MI-3043 Uni-directional microphone.) |
The Walt Disney Company(For the design and application to production of the Multi-Plane Camera.) |
Eastman Kodak(For two fine-grain duplicating film stocks.) |
Farciot Edouart, Paramount Pictures(For the development of the Paramount dual screen transparency camera setup.) |
Douglas Shearer, Metro-Goldwyn-Mayer Studio Sound Department(For a method of varying the scanning width of variable density sound tracks (squeeze tracks) for the purpose of obtaining an increased amount of noise reduction.) |
E. C. Wente, Bell Labs(For their multi-cellular high-frequency horn and receiver.) |
RCA(For their rotary stabilizer sound head.) |
Agfa-Gevaert(For their development of the Agfa infra-red film.) |
Eastman Kodak(For their development of the Eastman Pola-Screen.) |
Electrical Research Products, Inc.(For their development of the Vertical Cut Disc Method of recording sound for motion pictures (hill and dale recording).) |
Electrical Research Products, Inc.(For their wide range recording and reproducing system.) |
RCA(For their high-fidelity recording and reproducing system.) |
Technicolor Motion Picture Corporation(For its color cartoon process.) |
Fox Film(For effective use of synchro-projection composite photography.) |
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