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Der Oscar für technische Verdienste (Academy Technical Achievement Award) ist eine seit 1931 vergebene Auszeichnung der Academy of Motion Picture Arts and Sciences und würdigt herausragende Leistungen auf dem Gebiet der Verbesserung technischer Geräte und Methoden in der Filmwirtschaft.
Bei dem Preis handelt es sich um eine sogenannte Class III-Auszeichnung, da die Preisträger keine Oscar-Statuette (Class I) oder Oscar-Plakette (Class II) erhalten, sondern ein Oscar-Zertifikat. Zum Teil wurden in einem Jahr mehrere Preise in dieser Kategorie vergeben.
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| Jahr | Preisträger | Preisbegründung (deutsch/englisch) |
|---|---|---|
| 1931 | Electrical Research Products Inc. | „für Tauchspulen-Mikrofonsender“ („for moving coil microphone transmitters“) |
| RKO Radio Pictures Inc. | „für Reflex-Mikrofonkonzentratoren“ („for reflex type microphone concentrators“) | |
| RCA-Photophone Inc. | „für Bändchenmikrofonsender“ („for ribbon microphone transmitters“) | |
| 1932 | Eastman Kodak Company | „für das Typ II-B Sensitometer“ („for its Type II-B Sensitometer“) |
| 1934 | Fox Film Corporation | „für die Entwicklung und effektive Nutzung des durchscheinenden Zellstoffschirms in der Kompositfotografie“ („for their development and effective use of the translucent cellulous screen in composite photography“) |
| Fred Jackman, Warner Bros. Pictures, Inc. | „für die Entwicklung und effektive Nutzung des durchscheinenden Zellstoffschirms in der Kompositfotografie“ („for their development and effective use of the translucent cellulous screen in composite photography“) | |
| Sidney Saunders von RKO Studios, Inc. | „für die Entwicklung und effektive Nutzung des durchscheinenden Zellstoffschirms in der Kompositfotografie“ („for their development and effective use of the translucent cellulous screen in composite photography“) | |
| 1935 | Columbia Pictures Corporation | „für die Anwendung der Vertical-Cut-Disc-Methode (Berg-und-Tal-Aufnahme) auf die eigentliche Studioproduktion, mit ihrer Aufnahme des Tons auf dem Bild ‚One Night of Love‘“ („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'“) |
| Bell and Howell Company | „für die Entwicklung des Bell and Howell Fully Automatic Sound and Picture Printer“ („for their development of the Bell and Howell Fully Automatic Sound and Picture Printer“) | |
| 1936 | Metro-Goldwyn-Mayer | „für die Entwicklung der gegenläufigen Negativ- und Positiventwicklung mittels Strahlverwirbelung und die Anwendung des Verfahrens auf die gesamte Negativ- und Druckbearbeitung des Gesamtproduktes einer großen produzierenden Firma“ („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“) |
| William A. Mueller von Warner Bros.-First National Studio Sound Department | „für seine Art der Synchronisation, bei der die Lautstärke des Dialogs automatisch die Lautstärke der begleitenden Musik und Soundeffekte steuert“ („for his method of dubbing, in which the level of the dialogue automatically controls the level of the accompanying music and sound effects“) | |
| Mole-Richardson Company | „für die Entwicklung der Strahler „Solar-Spot““ („for their development of the 'Solar-spot’ spot lamps“) | |
| Douglas Shearer und Metro-Goldwyn-Mayer | „für ihr automatisches Steuerungssystem für Kameras und Tonaufnahmegeräte und Bühnenhilfsgeräte“ („for their automatic control system for cameras and sound recording machines and auxiliary stage equipment“) | |
| Electrical Research Products Inc. | „für ihre Untersuchung und Entwicklung von Geräten zur Analyse und Messung des Flatterns, das sich aus der Bewegung des Films durch die Mechanismen ergibt, die bei der Aufzeichnung und Wiedergabe von Ton verwendet werden“ („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“) | |
| Paramount Productions | „für die Konstruktion und den Bau der Entwicklungsmaschine Paramount Transparency Air Turbine“ („for the design and construction of the Paramount transparency air turbine developing machine“) | |
| Nathan Levinson | „für das Verfahren des Unterschneidens von Tonspuren mit variabler Dichte und variabler Fläche, um eine Erhöhung des effektiven Lautstärkebereichs von Tonaufzeichnungen für Kinofilme sicherzustellen“ („for the method of intercutting variable density and variable area sound tracks to secure an increase in the effective volume range of sound recorded for motion pictures“) | |
| 1937 | RCA-Victor | „für die Entwicklung eines Verfahrens zur Aufzeichnung und zum Druck von Tonaufzeichnungen unter Verwendung eines begrenzten Spektrums (bekannt als Ultraviolettlicht-Aufzeichnung)“ („for their development of a method of recording and printing sound records utilizing a restricted spectrum (known as ultra-violet light recording)“) |
| Electrical Research Products Inc. | „für den ERPI 'Typ Q' tragbaren Aufnahmekanal“ („for the ERPI 'Type Q' portable recording channel“) | |
| RCA-Victor | „für den praktischen Entwurf und Spezifikationen für einen rutschfesten Drucker“ („for furnishing a practical design and specifications for a non-slip printer“) | |
| United Artists Studio Corp. | „für die Entwicklung einer praktischen, effizienten und leisen Windmaschine“ („for the development of a practical, efficient and quiet wind machine“) | |
| 1938 | John Arnold und M-G-M Studio Camera Department | „für ihre Verbesserung des halbautomatischen Nachführungsfokus und seine Anwendung an allen Kameras des Metro-Goldwyn-Mayer Studio“ („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“) |
| John P. Livadary, Direktor des Sound Recording der Columbia Pictures Corporation | „für die Anwendung des biplanaren Lichtventils bei der Tonaufzeichnung von Filmen“ („for the application of the bi-planar light valve to motion picture sound recording“) | |
| Thomas T. Moulton und United Artists SSD | „für die Anwendung von Lautstärkeindikatoren in der Bewegtbildtonaufzeichnung, welche Lesespitzenwerte und lineare Dezibelskalen haben“ („for the application to motion picture sound recording of volume indicators which have peak reading response and linear decibel scales“) | |
| RCA Manufacturing Co., Inc. | „für die Vorstellung der modulierten Hochfrequenzmethode für die Bestimmung der optimalen fotografischen Verarbeitungsbedingungen für Tonspuren mit variabler Breite“ („for the introduction of the modulated high-frequency method of determining optimum photographic processing conditions for variable width sound tracks“) | |
| Joseph E. Robbins und Paramount Pictures Inc. | „für die außergewöhnliche Anwendung der akustischen Prinzipien für das Schalldämmen von Benzin-/Dieselgeneratoren und Wasserpumpen“ („for an exceptional application of acoustic principles to the sound proofing of gasoline generators and water pumps“) | |
| Douglas Shearer und M-G-M SSD | „für das Design von Filmtransportmechanismen, wie im ERPI 1010 Reproduktionsgerät verbaut“ („for the design of the film drive mechanism as incorporated in the ERPI 1010 reproducer“) | |
| 1939 | John Aalberg (RKO Radio SSD) | „für die Anwendung der Kompression der Aufzeichnung auf variablen Flächen in Bewegtbildproduktionen“ („for the application of compression to variable area recording in motion picture production“) |
| Byron Haskin (Special Effects Dept. der Warner Bros. Studio) | „für die Pionierarbeit in der Entwicklung des Dreikopf-Hintergrundprojektors und der ersten praktischen Anwendung in Bewegtbildproduktionen“ („for pioneering the development and for the first practical application to motion picture production of the triple head background projector“) |
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| Jahr | Preisträger | Preisbegründung (englisch) |
|---|---|---|
| 1940 | R. D. Musgrave (Selznick International Pictures Inc.) | „For pioneering in the use of coordinated equipment in the production Gone with the Wind“ |
| F. R. Abbott, Haller Belt und Alan Cook (Bausch & Lomb Optical Co.) | „Multiple Award for important contributions in cooperative development of new improved Process Projection Equipment: for faster projection lenses“ | |
| George H. Anderson | ./. | |
| John Arnold | „For the M-G-M mobile camera crane“ | |
| Farciot Edouart, Joseph E. Robbins und William Rudolph (Paramount Pictures, Inc.) | „For the design and construction of a quiet portable treadmill“ | |
| Charles Handley, David Joy (National Carbon Co.) | „Multiple Award for important contributions in cooperative development of new improved Process Projection Equipment: for improved and more stable high-intensity carbons“ | |
| Winton C. Hoch (Technicolor Motion Picture Corp.) | „Multiple Award for important contributions in cooperative development of new improved Process Projection Equipment: for an auxiliary optical system“ | |
| Emery Huse, Ralph B. Atkinson (Eastman Kodak Co.) | „For their specifications for chemical analysis of photographic developers and fixing baths“ | |
| Thomas T. Moulton, Fred Albin (Sound Dept. of the Samuel Goldwyn Studio) | „For the origination and application of the Delta db test to sound recording in motion pictures“ | |
| Harold Nye | ./. | |
| A. J. Tondreau | ./. | |
| 1941 | Anton Grot (Warner Bros. Studio Art Dept.) | „For the design and perfection of the Warner Bros. water ripple and wave illusion machine“ |
| 1942 | Charles L. Lootens (Republic SSD) | „For pioneering the use of and for the first practical application to motion picture production of Class B push-pull variable area recording“ |
| Douglas Shearer, Loren L. Ryder (M-G-M SSD and Paramount SSD) | „For pioneering the development of fine grain emulsions for variable density original sound recording in a studio production“ | |
| Ernest Wilbur Silvertooth (Paramount Studio Engineering Dept.) | „For the design and computation of a relay condenser system applicable to transparency process projection, delivering considerably more usable light“ | |
| Ray Wilkinson (Paramount Studio Laboratory) | „For pioneering in the use of and for the first practical application to release printing of fine grain positive stock“ | |
| Paramount Pictures, Inc., 20th Century-Fox Film Corp. | „For the development and first practical application to motion picture production of an automatic scene slating device“ | |
| 1943 | Robert Henderson (Paramount Studio Engineering and Transparency Departments) | „For the design and construction of adjustable light bridges and screen frames for transparency process photography“ |
| Daniel J. Bloomberg (Republic SSD) | „For the design and application to motion picture production of a device for pre-selection purposes“ | |
| 1944 | Daniel J. Bloomberg (Republic SSD) | „For the design and development of an inexpensive method of converting Moviolas to Class B push-pull reproduction“ |
| Charles G. Clarke (20th Century-Fox Studio Camera Dept.) | „For the development and practical application of a device for composing artificial clouds into motion picture scenes during production photography“ | |
| Farciot Edouart (Paramount Studio Transparency Dept.) | „For an automatic electric transparency cueing timer“ | |
| Willard H. Turner (RKO Radio SSD) | „For the design and construction of the phono-cue starter“ | |
| 1945 | Linwood G. Dunn, Cecil Love (Acme Tool Manufacturing Co.) | „For the design and construction of the Acme-Dunn Optical Printer“ |
| Grover Laube (20th Century-Fox Studio Camera Dept.) | „For the development of a continuous loop projection device“ | |
| Western Electric Co. | „For the design and construction of the 1126A Limiting Amplifier for variable density sound recording“ | |
| Russ Brown, Ray Hinsdale, Joseph E. Robbins | „For the development and production use of the Paramount floating hydraulic boat rocker“ | |
| Gordon Jennings | „For the design and construction of the Paramount nodal point tripod“ | |
| Radio Corp. of America, RKO Radio SSD | „For the design and construction of the RKO reverberation chamber“ | |
| Daniel J. Bloomberg (Republic SSD) | „For the design and development of a multi-interlock selector switch“ | |
| Bernard B. Brown, John P. Livadary | „For the design and engineering of a separate soloist and chorus recording room“ | |
| Paul Zeff, S. J. Twining, George Seid (Columbia Studio Laboratory) | „For the formula and application to production of a simplified variable area sound negative developer“ | |
| Paul K. Lerpae | „For the design and construction of the Paramount traveling matte projection and photographing device“ | |
| 1946 | Loren L. Ryder, Charles R. Daily (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“ |
| Michael S. Leshing, Benjamin C. Robinson, Arthur B. Chatelain, Robert C. Stevens (alle 20th Century-Fox Studio), John G. Capstaff (Eastman Kodak Co.) | „For the 20th Century-Fox film processing machine“ | |
| 1947 | Harlan L. Baumbach (Paramount West Coast Laboratory) | „For an improved method for the quantitative determination of hydroquinone and metol in photographic developing baths“ |
| Herbert E. Britt | „For the development and application of formulas and equipment for producing cloud and smoke effects“ | |
| Burton F. Miller (Warner Bros. Studio Sound and Electrical Departments) | „For the design and construction of a motion picture arc lighting generator filter“ | |
| Carlton W. Faulkner (20th Century-Fox SSD) | „For the reversed bias method, including a double bias method for light valve and galvanometer density recording“ | |
| Mole-Richardson Co. | „For the Type 450 super high intensity carbon arc lamp“ | |
| Arthur F. Blinn, Robert O. Cook, C. O. Slyfield (Walt Disney SSD) | „For the design and development of an audio finder and track viewer for checking and locating noise in sound tracks“ | |
| Burton F. Miller (Warner Bros. SSD) | „For the design and application of an equalizer to eliminate relative spectral energy distortion in electronic compressors“ | |
| Harold Nye (Warner Bros. Studio Electrical Dept.) | „For the development of the electronically controlled fire and gaslight effect“ | |
| Marty Martin, Hal Adkins (RKO Radio Studio Miniature Department) | „For the design and construction of equipment providing visual bullet effects“ | |
| 1948 | Nathan Levinson (Warner Bros. SSD) | „For the design and construction of a constant-speed sound editing machine“ |
| Farciot Edouart, Charles R. Daily, Hal Corl, H. G. Cartwright (Paramount Studio Engineering and Transparency Departments) | „For the first application of a special antisolarizing glass to high intensity background and spot arc projectors“ | |
| Fred Ponedel (Warner Bros. Studio) | „For pioneering the fabrication and practical application to motion picture color photography of large translucent photographic backgrounds“ | |
| Kurt Singer (RCA-Victor Division of the Radio Corp. of America) | „For the design and development of a continuously variable band elimination filter“ | |
| James Gibbons (Warner Bros. Studios) | „For the development and production of large dyed plastic filters for motion picture photography“ | |
| 1949 | Marty Martin, Jack Lannan, Russell Shearman (RKO Radio Studio Special Effects Dept.) | „For the development of a new method of simulating falling snow on motion picture sets“ |
| A. J. Moran (Warner Bros. Studio Electrical Dept.) | For „a method of remote control for shutters on motion picture arc lighting equipment“ |
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| Jahr | Preisträger | Preisbegründung (englisch) |
|---|---|---|
| 1950 | Loren L. Ryder, Bruce H. Denney, Robert J. Carr (Paramount SSD) | „For the development and application of the supersonic playback and public address system“ |
| M. B. Paul | „For the first successful large-area seamless translucent backgrounds“ | |
| Herbert E. Britt | „For the development and application of formulas and equipment producing artificial snow and ice for dressing motion-picture sets“ | |
| André Coutant, Jacques Mathot | For „the design of the Eclair Camerette“ | |
| Charles R. Daily, Stephen Csillag (Paramount Studio Engineering, Editorial and Music Departments) | „For a new precision method of computing variable tempo click tracks“ | |
| International Projector Corp. | „For a simplified and self-adjusting take-up device for projection machines“ | |
| Alexander Velcoff | „For the application to production of the infrared photographic evaluator“ | |
| 1951 | Keine Preisvergabe | Keine Preisvergabe |
| 1952 | Richard M. Haff, Frank P. Herrnfeld, Garland C. Misener (Ansco Film Division of General Aniline & Film Corporation) | „For the development of the Ansco color scene tester“ |
| Fred Ponedel, Ralph Ayres, George Brown (alle Warner Bros. Studio) | „For an air-driven water motor to provide flow, wake and white water for marine sequences in motion pictures“ | |
| Glen Robinson (M-G-M Studio Construction Dept.) | „For the development of a new music wire and cable cutter“ | |
| Jack Gaylord (M-G-M Studio Construction Dept.) | „For the development of balsa falling snow“ | |
| Carlos Rivas (M-G-M Studio) | „For the development of an automatic magnetic film splicer“ | |
| 1953 | Projection, Still Photographic and Development Engineering Departments of M-G-M Studio | „For an improved method of projecting photographic backgrounds“ |
| John G. Frayne, R.R. Scoville (Westrex Corp.) | „For a method of measuring distortion in sound reproduction“ | |
| Photo Research Corp. | „For creating the Spectra color temperature meter“ | |
| Gustav Jirouch | „For the design of the Robot automatic film splicer“ | |
| Carlos Rivas (M-G-M Studio) | For „the development of a sound reproducer for magnetic film“ | |
| 1954 | Westrex Corp. | „For the design and construction of a new film editing machine“ |
| 1955 | David S. Horsley (Universal-International Studio Special Photographic Dept.) | „For a portable remote control device for process projectors“ |
| Karl Freund, Frank Crandell (Photo Research Corp.) | For „the design and development of a direct reading brightness meter“ | |
| Wesley C. Miller, J. W. Stafford, K. M. Frierson (M-G-M SSD) | „For an electronic sound printing comparison device“ | |
| John P. Livadary, Lloyd W. Russell (Columbia SSD) | „For an improved limiting amplifier as applied to sound level comparison devices“ | |
| Roland Miller, Max Goeppinger (Magnascope Corp.) | „For the design and development of a cathode ray magnetic sound track viewer“ | |
| Carlos Rivas, G. M. Sprague (M-G-M SSD) | „For the design of a magnetic sound editing machine“ | |
| Fred R. Wilson (Samuel Goldwyn Studio Sound Department) | „For the design of a variable multiple-band equalizer“ | |
| P. C. Young (M-G-M Studio Projection Department) | „For the practical application of a variable focal length attachment to motion picture projector lenses“ | |
| Fred Knoth, Orien Ernest (Universal-International Studio Technical Department) | „For the development of a hand portable, electric, dry oil-fog machine“ | |
| 1956 | 20th Century-Fox Studio, Bausch & Lomb Co. | „For the new combination lenses for CinemaScope photography“ |
| Walter Jolley, Maurice Larson, R. H. Spies (20th Century-Fox Studio) | „For a spraying process which creates simulated metallic surfaces“ | |
| Steve Krilanovich | „For an improved camera dolly incorporating multi-directional steering“ | |
| Dave Anderson (20th Century-Fox Studio) | „For an improved spotlight capable of maintaining a fixed circle of light at constant intensity over varied distances“ | |
| Loren L. Ryder, Charles West, Henry Fracker (Paramount Studio) | „For a projection film index to establish proper framing for various aspect ratios“ | |
| Farciot Edouart, Hal Corl (Paramount Studio Transparency Dept.) | „For an improved dial stereopticon background projector“ | |
| 1957 | Richard H. Ranger (Rangertone, Inc.) | „For the development of a synchronous recording and reproducing system for quarter-inch magnetic tape“ |
| Ted Hirsch, Carl W. Hauge, Edward H. Reichard (Consolidated Film Industries) | For „an automatic scene counter for laboratory projection rooms“ | |
| Technical Departments of Paramount Pictures Corp. | „For the engineering and development of the Paramount lightweight horizontal-movement VistaVision camera“ | |
| Roy C. Stewart, Charles R. Daily (Sons of Stewart-Trans Lux Corp., Transparency Dept. of Paramount Pictures Corp.) | „For the engineering and development of the HiTrans and Para-HiTrans rear projection screens“ | |
| Construction Dept. of M-G-M Studio | „For a new hand-portable fog machine“ | |
| Daniel J. Bloomberg, John Pond, William Wade (Engineering and Camera Departments of Republic Studio) | „For the Naturama adaptation to the Mitchell camera“ | |
| 1958 | Charles E. Sutter, William Bryson Smith (Paramount Pictures Corp., General Cable Corp.) | „For the engineering and application to studio use of aluminum lightweight electrical cable and connectors“ |
| 1959 | Willy Borberg (General Precision Laboratory, Inc.) | „For the development of a high speed intermittent movement for 35 mm motion picture theater projection equipment“ |
| Fred Ponedel, George Brown, Conrad Boye (Warner Bros. Special Effects Dept.) | „For the design and fabrication of a new rapid-fire marble gun“ |
| Jahr | Preisträger | Preisbegründung (englisch) |
|---|---|---|
| 1960 | Ub Iwerks (Walt Disney Productions) | „For the design of an improved optical printer for special effects and matte shots“ |
| E.L. Stones, Glen Robinson, Winfield Hubbard, Luther Newman (M-G-M Studio Construction Dept.) | „For the design of a multiple-cable, remote-controlled winch“ | |
| 1961 | Arthur Holcomb, Petro Vlahos (Columbia Studio Camera Dept.) | „For a camera flicker indicating device“ |
| Anthony Paglia (20th Century-Fox Studio Mechanical Effects Dept.) | „For the design and construction of a miniature flak gun and ammunition“ | |
| Carl W. Hauge, Robert M. Grubel, Edward H. Reichard (Consolidated Film Industries) | „For the development of an automatic developer replenisher system“ | |
| 1962 | Hurletron, Inc., Electric Eye Equipment Division | „For an automatic light changing system for motion picture printers“ |
| Wadsworth E. Pohl (Technicolor Corp.) | „For an integrated sound and picture transfer process“ | |
| 1963 | Electro-Voice, Inc. | „For a highly directional dynamic line microphone“ |
| Louis G. MacKenzie | „For a selective sound effects repeater“ | |
| 1964 | Douglas Shearer, A. Arnold Gillespie (M-G-M Studios) | „For the engineering of an improved Background Process Projection System“ |
| 1965 | Milton Forman, Richard B. Glickman, Daniel J. Pearlman (ColorTran Industries) | „For the advancements in the design and application to motion picture photography of lighting units using quartz iodine lamps“ |
| Stewart Filmscreen Corp. | „For a seamless translucent Blue Screen for Traveling Matte Color Cinematography“ | |
| Anthony Paglia (20th Century-Fox Studio Mechanical Effects Dept.) | „For an improved method of producing Explosion Flash Effects for motion pictures“ | |
| Edward H. Reichard, Carl W. Hauge (Consolidated Film Industries) | „For the design of a Proximity Cue Detector and its application to motion picture printers“ | |
| Edward H. Reichard, Leonard L. Sokolow, Carl W. Hauge (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“ | |
| Nelson Tyler | „For the design and construction of an improved Helicopter Camera System“ | |
| 1966 | Keine Preisvergabe | Keine Preisvergabe |
| 1967 | Panavision, Inc. | „For the design of the Panatron Power Inverter and its application to motion picture camera operation“ |
| Carroll Knudson | „For the production of a Composers Manual for Motion Picture Music Synchronization“ | |
| Ruby Raksin | „For the production of a Composers Manual for Motion Picture Music Synchronization“ | |
| 1968 | Electro-Optical Division of Kollmorgen Corp. | „For the design and development of a series of Motion Picture Projection Lenses“ |
| Panavision, Inc. | „For a Variable Speed Motor for Motion Picture Cameras“ | |
| Fred R. Wilson (Samuel Goldwyn Studio Sound Dept.) | „For an Audio Level Clamper“ | |
| Waldon O. Watson (Universal City SSD) | „For new concepts in the design of a Music Scoring Stage“ | |
| 1969 | Carl W. Hauge, Edward H. Reichard (beide Consolidated Film Industries), E. Michael Meahl, Roy J. Ridenour (beide Ramtronics) | „For engineering an automatic exposure control for printing-machine lamps“ |
| Eastman Kodak Co., Consolidated Film Industries | „For a new direct positive film (Eastman Kodak) and for the application of this film to the making of post-production work prints (Consolidated Film)“ |
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| Jahr | Preisträger | Preisbegründung (englisch) |
|---|---|---|
| 1970 | Otto Popelka (Magna-Tech Electronics Co., Inc.) | „For the development of an Electronically Controlled Looping System“ |
| Fenton Hamilton (MGM Studios) | „For the concept and engineering of a mobile battery power unit for location lighting“ | |
| Panavision, Inc. | „For the design and development of the Panaspeed Motion Picture Camera Motor“ | |
| Robert M. Flynn, Russell Hessy (Universal City Studios, Inc.) | „For a machine-gun modification for motion picture photography“ | |
| 1971 | Sylvania Electric Products, Inc. | „For the development and introduction of a series of compact tungsten halogen lamps for motion picture production“ |
| B. J. Losmandy | „For the concept, design and application of micro-miniature solid state amplifier modules used in motion picture recording equipment“ | |
| Eastman Kodak Co., Photo Electronics Corp. | „For the design and engineering of an improved video color analyzer for motion picture laboratories“ | |
| Electro Sound Inc. | „For the design and introduction of the Series 8000 Sound System for motion picture theatres“ | |
| 1972 | Thomas Jefferson Hutchinson, James R. Rochester, Fenton Hamilton | „For the development and introduction of the Sunbrute system of xenon arc lamps for motion picture projection“ |
| Photo Research Division of Kollmorgen Corp. | „For the development and introduction of the film-lens balanced Three Color Meter“ | |
| Robert D. Auguste (Cinema Products Co.) | „For the development and introduction of a new crystal controlled lightweight motor for the 35 mm motion picture Arriflex camera“ | |
| Producers Service Corp., Consolidated Film Industries, Cinema Research Corp., Research Products, Inc. | „For the engineering and implementation of fully automated blow-up motion picture printing systems“ | |
| Cinema Products Co. | „For a control to actuate zoom lenses on motion picture cameras“ | |
| 1973 | Photo Research Division of Kollmorgen Corp., PSC Technology Inc., Acme Products Division | „For the Spectra Film Gate Photometer for motion picture printers“ |
| Carter Equipment Co., Inc., Ramtronics | „For the Ramtronics light-valve photometer for motion picture printers“ | |
| David J. Degenkolb, Harry Larson, Manfred Michelson, Fred Scobey (alle DeLuxe General Inc.) | „For the development of a computerized motion picture printer and process control system“ | |
| Jiro Mukai, Ryusho Hirose (beide Canon, Inc.), Wilton R. Holm (AMPTP Motion Picture and Television Research Center) | „For development of the Canon Macro Zoom Lens for motion picture photography“ | |
| Philip V. Palmquist, Leonard L. Olson (beide 3M Company), Frank P. Clark (AMPTP Motion Picture and Television Research Center) | „For development of the Nextel simulated blood for motion picture color photography“ | |
| E.H. Geissler, G.M. Berggren (beide Wil-Kin Inc.) | „For engineering of the Ultra-Vision Motion Picture Theater Projection System“ | |
| 1974 | Rosco Laboratories, Inc. | „For the technical advances and the development of a complete system of light-control materials for motion-picture photography“ |
| Richard H. Vetter (Todd-AO Corp.) | „For the design of an improved anamorphic focusing system for motion-picture photography“ | |
| 1975 | Elemack Co., Rom, Italien | „For the design and development of their Spyder camera dolly“ |
| Louis Ami (Universal City Studios) | For the design and construction of a reciprocating camera platform used when photographing special visual effects for motion pictures | |
| 1976 | Lawrence W. Butler, Roger Banks | „For the concept of applying low inertia and stepping electric motors to film transport systems and optical printers for motion-picture production“ |
| David J. Degenkolb, Fred Scobey (beide Deluxe General, Inc), John Dolan, Richard Dubois (beide Akwaklame Company) | „For the development of a technique for silver recovery from photographic wash-waters by ion exchange“ | |
| Joseph F. Westheimer | „For the development of a device to obtain shadowed titles on motion-picture films“ | |
| Carter Equipment Co., Inc., Ramtronics | „For the engineering and manufacture of a computerized tape punching system for programming laboratory printing machines“ | |
| Hollywood Film Co. | „For the engineering and manufacture of a computerized tape punching system for programming laboratory printing machines“ | |
| Bell & Howell | „For the engineering and manufacture of a computerized tape punching system for programming laboratory printing machines“ | |
| Fredrik Schlyter | For „the engineering and manufacture of a computerized tape punching system for programming laboratory printing machines“ | |
| 1977 | Fred Bartscher (Kollmorgen Corp.), Glenn Berggren (Schneider Corp.) | „For the design and development of a single-lens magnifier for motion-picture projection lenses“ |
| Panavision, Inc. | „For the design and development of super-speed lenses for motion-picture photography“ | |
| Hiroshi Suzukawa (Canon), Wilton R. Holm (AMPTP Motion Picture and Television Research Center) | For „the design and development of super-speed lenses for motion-picture photography“ | |
| Carl Zeiss Co. | „For the design and development of super-speed lenses for motion-picture photography“ | |
| Photo Research Division of Kollmorgen Corp. | „For the engineering and manufacture of the spectra TriColor Meter“ | |
| 1978 | Ernst F. Nettman (Astrovision Division of Continental Camera Systems, Inc.) | „For the engineering of its Snorkel Aerial Camera System“ |
| EECO (Electronic Engineering Co. of California) | „For developing a method for interlocking non-sprocketed film and tape media used in motion picture production“ | |
| Bernhard Kuhl, Werner Block (beide OSRAM GmbH) | „For the development of the HMI high-efficiency discharge lamp for motion picture lighting“ | |
| Panavision, Inc. | „For the design of Panalite, a camera-mounted controllable light for motion picture photography“ | |
| Panavision, Inc. | „For the engineering of the Panahead gearhead for motion picture cameras“ | |
| Piclear, Inc. | „For originating and developing an attachment to motion picture projectors to improve screen image quality“ | |
| 1979 | Karl Macher, Glenn M. Berggren (beide Isco Optische Werke) | „For the development and introduction of the Cinelux-ULTRA Lens for 35 mm Motion Picture Projection“ |
| David J. Degenkolb, Arthur L. Forde, Fred Scobey (DeLuxe General, Inc.) | „For the development of a Method to Recycle Motion Picture Laboratory Photographic Wash Waters by Ion Exchange“ | |
| Kiichi Sekiguchi (CINE-FI Int’l) | „For the development of the CINE-FI Auto Radio Sound System for Drive-In Theaters“ | |
| Leonard T. Chapman (Leonard Equipment Company) | „For the design and manufacture of a small, mobile, motion picture camera platform known as the Chapman Hustler Dolly“ | |
| James L. Fisher (J.L. Fisher, Inc.) | „For the design and manufacture of a small, mobile motion picture camera platform known as the Fisher Model Ten Dolly“ | |
| Robert Stindt (Production Grip Equipment Company) | „For the design and manufacture of a small, mobile, motion picture camera platform known as the Stindt Dolly“ |
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| Jahr | Preisträger | Preisbegründung (englisch) |
|---|---|---|
| 1980 | Michael V. Chewey, Walter G. Eggers, Allen Hecht (alle MGM Laboratories) | „For the development of a Computer-Controlled Paper Tape Programmer System and its applications in the motion picture laboratory“ |
| Irwin Young, Paul Kaufman, Fredrik Schlyter (alle Du Art Film Laboratories, Inc.) | „For the development of a Computer-Controlled Paper Tape Programmer System and its applications in the motion picture laboratory“ | |
| James S. Stanfield, Paul W. Trester | „For the development and manufacture of a device for the repair or protection of sprocket holes in motion picture film“ | |
| Zoran Perisic (Courier Films, Ltd.) | „For the Zoptic Special Optical Effects Device for motion picture photography“ | |
| A. D. Flowers, Logan R. Frazee | „For the development of a device to control flight patterns of miniature airplanes during motion picture photography“ | |
| Photo Research Division of Kollmorgen Corp. | „For the development of the Spectra Series II Cine Special Exposure Meter for motion picture photography“ | |
| Bruce Lyon, John Lamb | „For the development of a Video Animation System for testing motion picture animation sequences“ | |
| Ross Lowell (Lowel-Light Manufacturing, Inc.) | „For the development of compact lighting equipment for motion picture photography“ | |
| 1981 | Carter Equipment Co., Inc. | „For the development of a continuous contact, total immersion, additive color motion picture printer“ |
| Hollywood Film Co. | „For the development of a continuous contact, total immersion, additive color motion picture printer“ | |
| Andre DeBrie S.A. | „For the development of a continuous contact, total immersion, additive color motion picture printer“ | |
| Charles Vaughn, Eugene Nottingham (beide Cinetron Computer Systems, Inc.) | „For the development of a versatile general purpose computer system for animation and optical effects motion picture photography“ | |
| John W. Lang, Walter Hrastnik, Charles J. Watson (alle Bell and Howell Company) | „For the development and manufacture of a modular continuous contact motion picture film printer“ | |
| Worth Baird (LaVezzi Machine Works, Inc.) | „For the advanced design and manufacture of a film sprocket for motion picture projectors“ | |
| Peter Regla, Dan Slater (Elicon) | „For the development of a follow-focus system for motion picture optical effects printers and animation stands“ | |
| 1982 | Hal Landaker, Alan Landaker | „For the concept (H. Landaker) and the engineering (A.D. Landaker) of the Burbank Studios’ Production Sound Department 24-frame color video system“ |
| Bill Hogan (Ruxton, Ltd), Richard J. Stumpf, Daniel R. Brewer (beide Universal City Studios’ Production Sound Department) | „For the engineering of a 24-frame color video system“ | |
| Ernst F. Nettman (Continental Camera Systems, Inc.) | „For the development of a pitching lens for motion picture photography“ | |
| Bill Taylor (Universal City Studios) | „For the concept and specifications for a Two Format, Rotating Head, Aerial Image Optical Printer“ | |
| Peter Parks (Oxford Scientific Films) | „For the development of the OSF microcosmic zoom device for microscopic photography“ | |
| Louis Stankiewicz, H.L. Blachford | „For the development of Baryfol sound barrier materials“ | |
| Dennis Muren, Stuart Ziff (beide Industrial Light and Magic, Inc.) | „For the development of a Motion Picture Figure Mover for animation photography“ | |
| 1983 | Dick Deats | „For the design and manufacture of the „Little Big Crane“ for motion picture production“ |
| Cons Tresfon, Adriaan De Rooy (beide Egripment), Ed Phillips, Carlos DeMattos (beide Matthews Studio Equipment, Inc.) | „For the design and manufacture of the „Tulip Crane“ for motion picture production“ | |
| Bran Ferren (Associates and Ferren) | „For the design and development of a computerized lighting effect system for motion picture photography“ | |
| Christie Electric Corp., LaVezzi Machine Works, Inc. | „For the design and manufacture of the Ultramittent film transport for Christie motion picture projectors“ | |
| 1984 | William G. Krokaugger (Mole-Richardson Company) | „For the design and engineering of a portable, 12,000 watt, lighting-control dimmer for use in motion picture production“ |
| Charles L. Watson, Larry L. Langrehr, John H. Steiner | „For the development of the BHP (electro-mechanical) fader for use on continuous motion picture contact printers“ | |
| Elizabeth D. De La Mare (De La Mare Engineering, Inc.) | For „the progressive development and continuous research of special effects pyrotechnics originally designed by Glenn W. De La Mare for motion picture production“ | |
| Douglas Fries, John Lacey, Michael Sicrist | „For the design and engineering of a 35 mm reflex conversion camera system for special effects photography“ | |
| Jack Cashin (Ultra-Stereo Labs, Inc.) | „For the engineering and development of a 4-channel, stereophonic, decoding system for optical motion picture sound track reproduction“ | |
| David J. Degenkolb | „For the design and development of an automated device used in the silver recovery process in motion picture laboratories“ | |
| 1985 | Nat Tiffen (Tiffen Manufacturing Corp.) | „For the production of high-quality, durable, laminated color filters for motion picture photography“ |
| Don Trumbull, Jonathan Erland, Stephen C. Fog, Paul Burke (alle Apogee, Inc.) | „For the design and development of the „Blue Max“ high-power, blue-flux projector for traveling matte composite photography“ | |
| Jonathan Erland, Robert Fate Bealmear (beide Apogee, Inc.) | „For an innovative design for front projection screens and an improved method for their construction“ | |
| Howard Preston (Preston Cinema Systems) | „For the design and development of a variable speed control device with automatic exposure compensation for motion picture cameras“ | |
| 1986 | David W. Spencer | „For the development of an Animation Photo Transfer (APT) process“ |
| Harrison & Harrison, Optical Engineers | „For the invention and development of Harrison Diffusion Filters for motion picture photography“ | |
| Larry Barton (Cinematography Electronics, Inc.) | „For a precision speed, crystal-controlled device for motion picture photography“ | |
| Alan Landaker (Burbank Studios) | „For the Mark III Camera Drive for motion picture photography“ | |
| 1987 | Lee Electric (Lightning) Ltd. | „For the design and development of an electronic, flicker-free, discharge lamp control system“ |
| Peter Parks (Oxford Scientific Films’ Image Quest Division) | „For the development of a live aero-compositor for special effects photography“ | |
| Matt Sweeney, Lucinda Strub | „For the development of an automatic capsule gun for simulating bullet hits for motion picture special effects“ | |
| Carl E. Holmes (Carl E. Holmes Company), Alexander Bryce (The Burbank Studios) | „For the development of a mobile DC power supply unit for motion picture production photography“ | |
| Bran Ferren (Associates and Ferren) | „For the development of a laser synchro-cue system for applications in the motion picture industry“ | |
| John L. Baptista (MGM Laboratories, Inc.) | For „the development and installation of a computerized silver recovery operation“ | |
| David W. Samuelson, William B. Pollard | „For the development and programs incorporated into a pocket computer for motion picture cinematographers (Samuelson) and for contributing new algorithms on which the programs are based (Pollard)“ | |
| Hal Landaker, Alan Landaker (beide The Burbank Studios) | „For the development of the Beat System low-frequency cue track for motion picture production sound recording“ | |
| 1988 | Ioan Allen (Dolby Laboratories, Inc.) | „For the Cat. 43 playback-only noise reduction unit and its practical application to motion picture sound recordings“ |
| John Eppolito, Wally Gentleman, William Mesa, Les Paul Robley, Geoffrey H. Williamson | „For refinement to a dual-screen, front-projection image-compositing system“ | |
| Jan Jacobsen | „For the application of a dual-screen, front-projection system to motion picture special effects photography“ | |
| Thaine Morris, David Pier | „For the development of the DSC Spark Devices for motion picture special effects“ | |
| Tad Krzanowski (Industrial Light and Magic, Inc.) | „For the development of a Wire Rig Model Support Mechanism used to control the movements of miniatures in special effects“ | |
| Dan C. Norris, Tim Cook (beide Norris Film Products) | „For the development of a single-frame exposure system for motion picture photography“ | |
| 1989 | Grant Loucks (Alan Gordon Enterprises), Geoffrey H. Williamson (Wilcam) | „For the design concept (Loucks) and the mechanical and electrical engineering (Williamson) of the Image 300 35 m high-speed motion picture camera“ |
| Michael V. Chewey III | „For the development of the motion picture industry’s first paper reader incorporating microprocessor technology“ | |
| BHP Inc. (Nachfolgerin der Abteilung für professionelles Equipment von Bell & Howell) | „For the development of a high-speed reader incorporating microprocessor technology for motion picture laboratories“ | |
| Hollywood Film Co. | „For the development of a high-speed reader incorporating microprocessor technology for motion picture laboratories“ | |
| Bruce W. Keller, Manfred G. Michelson (beide Technical Film Systems) | „For the design and development of a high-speed light value controller and constant current power supply for motion picture laboratories“ | |
| Anton Lisziewicz, Glenn M. Berggren (beide ISCO-OPTIC GmbH) | „For the design and development of the Ultra-Star series of motion picture projection lenses“ | |
| James K. Branch (Spectra Cine), William L. Blowers, Nasir J. Zaidi | „For the design and development of the Spectra Cine-spot 1-degree spotmeter for measuring the brightness of motion picture screens“ | |
| Bob Badami, Dick Bernstein, Bill Bernstein (alle Offbeat Systems) | „For the design and development of the Streamline Scoring System, Mark IV, for motion picture music editing“ | |
| Gary Zeller (Zeller Intl. Ltd.) | „For the development of Zel-Jel fire protection barrier for motion picture stunt work“ | |
| Emanual Trilling (Trilling Resources Ltd.) | „For the development of Stunt-Gel fire protection barrier for motion picture stunt work“ | |
| Paul A. Roos | „For the invention of a method known as Video Assist, whereby a scene being photographed on a motion picture film can be be viewed on a monitor and/or recorded on videotape“ |
| Jahr | Preisträger | Preisbegründung (englisch) |
|---|---|---|
| 1990 | Leo Cattozzo | „For the design and development of the CIR-Catozzo self-perforating adhesive tape film splicer“ |
| Magna-Tech Electronic Co., Inc. | „For introduction of the first remotely controlled advance/retard function for magnetic film sound dubbing“ | |
| 1991 | William L. Blowers, Thomas F. Denove (beide Belco Associates, Inc.) | „For the development and manufacture of the Belco Denove Cinemeter“ |
| Iain Neil, Takuo Miyagishima (Panavision, Inc.) | „For the optical design (Neil), the mechanical design (Miyagishima) and for the concept and development (Panavision) of the Primo Series of spherical prime lenses for 35 mm cinematography“ | |
| Manfred G. Michelson (Technical Film Systems, Inc.) | „For the design and development of the first sprocket-driven film transport systemfor color print film processors which permits transport speeds in excess of 600 feet per minute“ | |
| John W. Lang, Walter Hrastnik, Charles J. Watson (alle Bell and Howell Company) | „For the development and manufacture of a modular continuous contact motion picture film printer“ | |
| Christopher Gilman, Harvey Hubert Jr. (beide Diligent Dwarves Effects Lab) | „For the development of the Actor Climate System, consisting of heat-transferring undergarments“ | |
| Jim Graves (J and G Enterprises) | „For the development of the Cool Suit System, consisting of heat-transferring undergarments“ | |
| Bengt O. Orhall, Kenneth Lund, Bjorn Selin, Kjell Högberg (alle AB Film-Teknik) | „For the development and manufacture of the Mark IV film subtitling processor, which has increased the speed, simplified the operation, and improved the quality of subtitling“ | |
| Richard Mula, Pete Romano (beide HydroImage, Inc.) | „For the development of the SeaPar 1200 watt HMI underwater lamp which provides a safe, portable HMI light fixture to be used on either wet or dry sets“ | |
| Dedo Weigert (Dedo Weigert Film GmbH) | „For the development of the Dedolight, a miniature low-voltage tungsten-halogen lighting fixture capable of being hidden in practical locations“ | |
| Fred Kolb Jr., Paul Preo | „For the concept and development of a 35 mm projection test film by which projection parameters may be evaluated“ | |
| Peter Baldwin, Paul Kiankhooy (Lightmaker Co.) | „For the design (Baldwin) and for the development of the Lightmaker AC/DC HMI ballast“ | |
| All-Union Cinema, Photo Research Institute (NIKFI) | „For continuously improving and providing 3-D presentation to Soviet motion picture audiences for the last 25 years“ | |
| 1992 | 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“ |
| Jim Doyle | „For the design and development of the Dry Fogger, which uses liquid nitrogen to produce a safe, dense, low-hanging dry fog“ | |
| Dick Cavdek, Steve Hamerski (Otto Nemenz Int’l. Inc.) | „For the opto-mechanical design and development of the Canon/Nemenz Camera Zoom Lens“ | |
| Ken Robings (Clairmont Camera) | „For the opto-mechanical design and development of the Canon/Nemenz Camera Zoom Lens“ | |
| Century Precision Optics | „For the opto-mechanical design and development of the Canon Century Precision Optics Zoom Lens“ | |
| 1993 | Ira Tiffen (Tiffen Manufacturing) | „For production of the Ultra Contrast Filter Series for motion picture photography, which provides a graded range of contrast reduction filters with excellent consistency over the entire frame area“ |
| Robert R. Burton (Audio Rents Inc.) | „For development of the Model S-27 4-Band Splitter/Combiner, a method of processing soundtrack by allowing the sound mixer to work on separate bands of the audio spectrum“ | |
| Iain Neil, Kaz Fudano | „For optical design (Neil) and mechanical design (Fudano) of the Panavision Slant Focus Lens, which allows for the focus plane to be tipped and rotated so that near and far objects can be simultaneously brought into focus“ | |
| Tom Brigham, Douglas Smythe (Abteilung für Computergrafiken von Industrial Light & Magic) | „For the original concept and pioneering work (Brigham) and development and first implementation in feature motion pictures of the MORF system for digital metamorphosis of high resolution images. The MORF system made practical the creation of metamorphosis and transformation effects for films“ | |
| 1994 | Wally Mills, Gary Stadler, Gustave Parada | „For the concept (Mills) and the design (Stadler/Parada) of the Cinemills Lamp Protection System, which provides a process that prevents the early failure of 20-kilowatt lamps by maintaining essentially uniform current flow to the lamp filament as it heats and changes resistance“ |
| Gary Nuzzi, David Johnsrud, William Blethen | „For the design and development of the Unilux H3000 Strobe Lighting System, a high-speed system that generates a high-intensity light pulse with a duration of only one-100,000th of a second, the effect of which is to freeze an object moving at a high rate of speed so it can be photographed with extraordinary sharpness“ | |
| David J. Degenkolb | „For the development of a Silver Recovery Ion Exchange System to eliminate hazardous silver ion waste in development wash water and allow recycling of the water“ | |
| 1995 | 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‘“ |
| Colin Broad (CB Electronics) | „For the design and development of the EDL (Edit Decision List) Lister, which creates an encoded timecode track and database during the transfer of the production sound ‚dailies‘“ | |
| B. Russell Hessey (Special Effects Spectacular Inc.), Vincent T. Kelton, George Jackman (De La Mare Engineering Inc.) | „For the hardware design (Hessey/Kelton) and the pyrotechnic development (Jackman) which together comprise the non-gun safety blank firing system“ | |
| Emanuel Previnaire (Flying-Cam) | „For his pioneering concept and for the development of mounting a motion picture camera on a remotely-controlled miniature helicopter“ | |
| Jacques Sax (Sonosax) | „For the design and development of the Sonosax SX-S portable audio mixer“ | |
| Dieter Sturm (Sturm’s Special Effects Int’l.) | „For the creation and development of the Bio-Snow 2 Flake“ | |
| David A. Addleman, Lloyd A. Addleman | „For the development of Cyberware 3030 3D Digitizer“ | |
| Mark R. Schneider, Herbert R. Jones, Christopher D. Conover, John R.B. Brown | „For the development of the Polhemus 3 Space Digitizing System“ | |
| Jack Smith, Michael Crichton, Emil Safier | „For pioneering computerized motion picture budgeting and scheduling“ | |
| Stephen Greenfield, Chris Huntley (beide Screenplay Systems) | „For development of the „Scriptor“ software“ | |
| Frieder Hocheim, Gary H. Swink, Joe Zhou, Don Northrop | „For the development of the Kino Flo Portable, Flicker Free, High Output Fluorescent Lighting System for motion picture set illumination“ | |
| Clay Davis, John Carter (beide Todd-AO) | „For the pioneering effort of computer-controlled list management style ADR (Automated Dialogue Replacement)“ | |
| Stephen W. Potter, John Asman, Charles Pell, Richard Larson (alle LarTec Systems) | „For the advancement and refinement of the computer-controlled list management style ADR (Automated Dialogue Replacement) system via the LarTech ADR System that has established itself as a standard of the industry“ | |
| Art Fritzen (California Fritzen Propeller Company) | „As designer and sole manufacturer of the Eight-Bladed Ritter Fan Propellers“ | |
| Mike Boudry (Computer Film Company) | „For his pioneering work in the field of film input scanning“ | |
| 1996 | Pascal Chedeville | For „the design of the L.C. Concept digital sound system for motion picture exhibition“ |
| Jim Deas (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“ | |
| Clay Davis, John Carter (beide Todd-AO) | For „their pioneering efforts in creating an automated patchbay system for motion picture sound transfer and dubbing operations“ | |
| Al Jensen, Chuck Headley, Jean Messner, Hazem Nabulsi (alle CEI Technology) | „For producing a self-contained, flicker-free color video-assist camera“ | |
| Peter Denz (Präzisions-Entwicklung Denz) | „For developing a flicker-free color video-assist camera“ | |
| David Pringle, Zhang Yan | „For the design and development of Lightning Strikes, a flexible, high-performance electronic lightning effect system“ | |
| BHP Inc. | „For their pioneering efforts developing digital sound printing heads for motion pictures“ | |
| Joe Finnegan | „For his pioneering work in developing the Air Ram for motion picture stunt effects“ | |
| Gary Demos, David Ruhoff, Can Cameron, Michelle Feraud | „For their pioneering efforts in the creation of the Digital Productions digital film compositing system“ | |
| Douglas Smythe, Lincoln Hu, Douglas S. Kay (Industrial Light and Magic, Inc.) | „For their pioneering efforts in the creation of the ILM digital film compositing system“ | |
| Computer Film Co. | „For their pioneering efforts in the creation of the CFC digital film compositing system“ | |
| Toulouse U Genie Des Systemes, Kodak Pathe CTP CINE, Eclair Laboratories | „For the concept (Toulouse U), prototype (Kodak), developement and further implementation (Eclair) of the Toulouse Electrolytic Silver Recovery Cell“ | |
| 1997 | Perry Kivolowitz, Garth Dickie | „For the primary design (Perry Kivolowitz) and for the development. (Garth Dickie) of the algorithms, for the shape-driven warping and morphing subsystem of the Elastic Reality Special Effects System“ |
| Kenneth Perlin | „For the development of Perlin Noise, a technique used to produce natural appearing textures on computer generated surfaces for motion picture visual effects“ | |
| Nestor Burtnyk, Marceli Wein (beide National Research Council of Canada) | „For their pioneering work in the development of software techniques for Computer Assisted Key Framing for Character Animation“ | |
| Grant Loucks | „For the concept and specifications of the Mark V Director’s Viewfinder“ | |
| Brian Knep, Craig Hayes, Rick Sayre, Tom Williams | „For the creation and development of the Direct Input Device“ | |
| James Kajiya, Timothy Kay | „For their pioneering work in producing computer generated fur and hair in motion pictures“ | |
| Jeffery Yost, Christian Rouet, David Benson, Florian Kainz | „For the development of a system to create and control computer generated fur and hair in motion pictures“ | |
| Richard A. Prey, William N. Masten | „For the design and development of the Nite Sun II lighting crane and camera platform“ | |
| 1998 | Clark F. Crites | For „the design and development of the ELF 1-C Endless Loop Film Transport and storage system“ |
| Dan Leimeter, Bob Weitz | „For the development and implementation of a Portable Adjustment Tool for T-Style Slit Lens Assemblies“ | |
| Greg Hermanovic, Kim Davidson, Mark Elendt, Paul Breslin | „For the development of the procedural modeling and animation components of the Prisms software package“ | |
| Jim Keating, Michael Wahrman, Richard E. Hollander | „For their contributions that led to the Wavefront Advanced Visualizer computer graphics system“ | |
| James M. Reilly, Douglas W. Nishimura, Monique C. Fisher (alle 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“ | |
| Phil Cory | „For the design and development of the Special Effects Spark Generator“ | |
| Jim Frazier, Iain Neil, Rick Gelbard | „For the concept (Frazier) and the design and development (Neil/Gelbard) of the Panavision/Frazier Lens System for motion picture photography“ | |
| James F. Foley, Charles Converse, F. Edward Gardner (alle UCISCO), Bob Stoker, Matt Sweeney | „For the development and realization of the Liquid Synthetic Air system“ | |
| Richard Chuang, Glenn Entis, Carl Rosendahl | „For the concept and architecture of the Pacific Data Images (PDI) Animation System“ | |
| James A. Cashin, Roger Hibbard, Larry Jacobson | „For the design, development and implementation of a projection system analyzer“ | |
| 1999 | Garrett Brown, Jerry Holway | „For the creation of the Skyman flying platform for Steadicam operators“ |
| Jim Rodnunsky, Jim Webber, Bob Webber (alle Cablecam Systems), Thornton Bayliss | „For the design and engineering of Cablecam“ | |
| David DiFrancesco, N. Balasubramanian, Tom Noggle | „For their pioneering efforts in the development of laser film recording technology“ | |
| Mike MacKenzie, Mike Bolles, Udo Pampel, Joe Fulmer (alle Industrial Light & Magic) | „For their pioneering work in motion-controlled, silent camera dollies“ | |
| Barry Walton, Bill Schultz, Chris Barker, David Cornelius (alle Sony Pictures Imageworks) | „For the creation of an advanced motion-controlled, silent camera dolly“ | |
| Bruce Wilton, Carlos Icinkoff (beide Mechanical Concepts) | „For their modular system of motion-control rotators and movers for use in motion control“ | |
| Remy Smith, James K. Branch, Nasir J. Zaidi | „For the software and electronic design and development (Smith) and for the design and development (Branch/Zaidi) of the Spectra Professional IV-A digital exposure meter“ | |
| Ivan Kruglak | „For his commitment to the development of a wireless transmission system for video-assisted images for the motion picture industry“ | |
| Doug Roble | „For his contribution to tracking technology and for the design and implementation of the TRACK system for camera position calculation and scene reconstruction“ | |
| Thaddeus Beier | „For the design and implementation of ras_track, a system for 2D tracking, stabilization and 3D camera and object tracking“ | |
| Manfred N. Klemme, Donald E. Wetzel | „For the design and development of the K-Tek Microphone Boom Pole and accessories for on-set motion picture sound recording“ | |
| Nick Foster | „For his software development in the field of water simulation systems“ | |
| Cary Phillips | „For the design and development of the „Caricature“ Animation System at Industrial Light & Magic“ | |
| M.J. Bogdanowicz (Eastman Kodak Company), Jim Meyers, Stan Miller (beide Rosco Laboratories, Inc.) | „For the design of the CalColor Calibrated Color Effects Filters“ | |
| Carl F. Holtz, David F. Kopperl, A. Tulsi Ram, Richard C. Sehlin | „For the research and development of the concept of molecular sieves applied to improve the archival properties of processed photographic film“ | |
| Takuo Miyagishima, Albert K. Saiki (beide Panavision, Inc.) | „For the design and development of the Eyepiece Leveler“ | |
| Ed Di Giulio, James Bartell (beide Cinema Products) | „For the design of the KeyKode Sync Reader“ | |
| Ivan Kruglak | „For his pioneering concept and the development of the Coherent Time Code Slate“ | |
| Michael Denecke | „For refining and further developing electronic time-code slates“ | |
| Ed Zwaneveld, Frederick Gasoi (beide National Film Board of Canada), Mike Lazaridis, Dale Brubacher-Cressman (beide Research In Motion) | „For refining and further developing electronic time-code slates“ |
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| Jahr | Preisträger | Preisbegründung (englisch) |
|---|---|---|
| 2000 | Vivienne Dyer, Chris Woolf | „For the design and development of the Rycote Microphone Windshield Modular System“ |
| Leslie Drever | „For the design and development of the Light Wave microphone windscreens and isolation mounts from Light Wave Systems“ | |
| Richard C. Sehlin, Mitchell J. Bogdanowicz, Mary L. Schmoeger (alle Eastman Kodak) | „For the concept (Sehlin), the design and development (Bogdanowicz/Schmoeger) of the Eastman Lamphouse Modification Filters“ | |
| Hoyt Yeatman (Dream Quest Images), John C. Brewer (Eastman Kodak) | „For the identification and diagnosis leading to the elimination of the 'red fringe' artifact in traveling matte composite photography“ | |
| 2001 | 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“ |
| Bill Tondreau (Kuper Systems), Alvah J. Miller, Paul D. Johnson (beide Lynx Robotics), David Stump (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“ | |
| Leonard Pincus, Ashot Nalbandyan, George Johnson, Tom Kong | „For the design and development of the Softsun low pressure xenon long-arc light sources, their power supplies and fixtures“ | |
| Glenn Berggren, Horst Linge, Wolfgang Reineke | „For the concept (Berggren), for research and development (Linge), and for the final design and production (Reineke) of the Isco-Optic lenses for motion picture projection“ | |
| Udo Schauss, Karl Lenhardt, Ralf Linn, Norbert Brinker | „For the optical design (Schauss/Lenhardt), and for the mechanical design (Linn/Brinker) of the Schneider Super Cinelux lenses for motion picture projection“ | |
| Philip Greenstreet (Rosco Laboratories) | For „the concept and development of the Roscolight Day/Night Backdrop“ | |
| Venkat Krishnamurthy | „For the creation of the Paraform Software for 3D Digital Form Development“ | |
| George Borshukov, Kim Libreri, Dan Piponi | „For the development of a system for image-based rendering allowing choreographed camera movements through computer graphic reconstructed sets“ | |
| John Pytlak | „For the development of the Laboratory Aim Density (LAD) system“ | |
| 2002 | Pete Romano | „For the design and development of the Remote AquaCam, an underwater camera housing system for use in motion pictures“ |
| Jordan Klein Sr. | „For his pioneering efforts in the development and application of underwater camera housings for motion pictures“ | |
| Bernard Werner, William Gelow | „For the engineering and design of filtered line arrays and screen spreading compensation as applied to motion picture loudspeaker systems“ | |
| Tomlinson Holman | „For the research and systems integration resulting in the improvement of motion picture loudspeaker systems“ | |
| Geoff Jackson, Roger Woodburn | „For their DMS 120S Camera Motor“ | |
| Thomas Major Barron, Charles Smith, Gordon Seitz | „For the overall concept and design (Barron), the structural engineering (Smith) and the mechanical engineering (Seitz) of the Bulldog Motion Control Camera Crane“ | |
| John Anderson, Jim Hourihan, Cary Phillips, Sebastian Marino | „For the development of the ILM Creature Dynamics System“ | |
| Steve Sullivan, Eric Schafer | „For the development of the ILM Motion and Structure Recovery System (MARS)“ | |
| Carl Ludwig, John Constantine Jr. | „For their contributions to CELCO Digital Film Recorder products“ | |
| Bill Spitzak, Paul Van Camp, Jonathan Egstad, Price Pethel | „For their pioneering effort on the NUKE-2D Compositing Software“ | |
| Lance Williams | „For his pioneering influence in the field of computer-generated animation and effects for motion pictures“ | |
| Uwe Sassenberg, Rolf Schneider | „For the development of „3D Equalizer,“ an advanced and robust camera and object match-moving system“ | |
| Garland Stern | „For the concept and implementation of the Cel Paint Software System“ | |
| Mic Rodgers, Matt Sweeney | „For the concept, design and realization of the "Mic Rig"“ | |
| 2003 | 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“ |
| Thomas Driemeyer und Team (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“ | |
| Eric Daniels, George Katanics, Tasso Lappas, 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“ | |
| 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“ | |
| Pierre Chabert (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“ | |
| Rawdon Hayne, Robert W. Jeffs (beide Leelium Tubelite) | „For their contributions to the development of internally lit balloons for motion picture lighting. 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“ | |
| 2004 | Kish Sadhvani, Paul Duclos, Carl Pernicone | „For the concept and optical design (Sadhvani), for for the practical realization and production engineering (Duclos) and for the mechanical design and engineering (Pernicone) of the portable cine viewfinder system known as the Ultimate Director’s Finder (UDF)“ |
| Henrik Wann Jensen, Stephen R. Marschner, Pat Hanrahan | „For their pioneering research in simulating subsurface scattering of light in translucent materials as presented in their paper "A Practical Model for Subsurface Light Transport“ | |
| Christophe Hery, Ken McGaugh, Joe Letteri | „For their groundbreaking implementations of practical methods for rendering skin and other translucent materials using subsurface scattering techniques“ | |
| 2005 | Greg Cannom, Wesley Wofford | „For the development of their special modified silicone material for makeup applications used in motion pictures“ |
| Gerald Cotts, Anthony Seaman | „For the original concept and design (Cotts) and for the engineering (Seaman) of the Satellight-X HMI Softlight“ | |
| Steve Boze | „For the design and implementation of the DNF 001 multi-band digital audio noise suppressor“ | |
| Christopher Hicks, Dave Betts | „For the design and implementation of the Cedar DNS 1000 multi-band digital noise suppressor“ | |
| Nelson Tyler | „For the development of the Tyler Gyroplatform boat mount stabilizing device for motion picture photography“ | |
| Julian Morris, Michael Birch, Paul Smyth, Paul Tate | „For the development of the Vicon motion capture technology“ | |
| John O.B. Greaves, Ned Phipps, Antonie J. van den Bogert, William Hayes | „For the development of the Motion Analysis motion capture technology“ | |
| Nels Madsen, Vaughn Cato, Matt Madden, Bill Lorton | „For the development of the Giant Studios motion capture technology“ | |
| Alan Kapler | „For the design and development of Storm, a software toolkit for artistic control of volumetric effects“ | |
| 2006 | Gary Thieltges | „For the design and development of the remotely-operated, lightweight camera head known as the Sparrow Head“ |
| Frank Fletcher, Dave Sherwin | „For the introduction and continuing development of the Power Pod modular camera head system“ | |
| Alvah J. Miller, Michael Sorensen, J. Walt Adamczyk | „For the design and development of the Aerohead motion control camera head and the J-Viz Pre-Visualization system“ | |
| Scott Leva | „For the design and development of the Precision Stunt Airbag for motion picture stunt falls“ | |
| Lev Yevstratov, George Peters, Vasiliy Orlov | „For the development of the Ultimate Arm Camera Crane System for specialized vehicle photography“ | |
| James Rodnunsky, Alex MacDonald, Mark Chapman | „For the development of the Cablecam 3-D volumetric suspended cable camera technologies“ | |
| Tim Drnec, Ben Britten Smith, Matt Davis | „For the development of the Spydercam 3-D volumetric suspended cable camera technologies“ | |
| John Platt, Demetri Terzopoulos | „For their pioneering work in physically-based computer-generated techniques used to simulate realistic cloth in motion pictures“ | |
| Edwin Catmull, Tony DeRose, Jos Stam | „For the original concept (Catmull) and the scientific and practical implementation (DeRose/Stam) of subdivision surfaces as a modeling technique in motion picture production“ | |
| Harold Rattray, Terry Claborn, Steve Garlick, Bill Hogue, Tim Reynolds | „For the design, engineering and implementation of the Technicolor Real Time Answer Print System“ | |
| Udo Schauss, Hildegard Ebbesmeier, Nicole Wemken, Michael Anderer | „For the optical design (Schauss/Ebbesmeier) and the mechanical design (Wemken/Anderer) of the Cinelux Premiere Cinema Projection Lenses“ | |
| 2007 | Joshua Pines, Christopher Kutcka (beide Technicolor Digital Intermediates) | „For the design and development of the TDI process for creating archival separations from digital image data“ |
| Bill Feightner, Chris Edwards (beide E-Film) | „For the design and development of the E-Film process for creating archival separations from digital image data“ | |
| Albert Ridilla, Papken Shahbazian, Ronald Belknap, Jay McGarrigle | „For the design and development of the Hollywood Film Company Brumagic MPST Densitometer“ | |
| Klemens Kehrer, Josef Handler, Thomas Smidek, Marc Shipman Mueller | „For the design and development of the Arriflex 235 Camera System“ | |
| Florian Kainz | „For the design and engineering of OpenEXR, a software package implementing 16-bit, floating-point, high dynamic range image files“ | |
| Walter Trauniger, Ernst Tschida | „For the design and engineering of the Arri WRC wireless remote lens control system“ | |
| Christian Tschida, Martin Waitz (beide cmotion) | „For the design and engineering of the cmotion Wireless Remote System“ | |
| Peter Litwinowicz, Pierre Jasmin | „For the design and development of the RE: Vision Effects family of software tools for optical flow-based image manipulation“ | |
| 2008 | Christien Tinsley | „For the creation of the transfer techniques for creating and applying 2D and 3D makeup known as "Tinsley Transfers"“ |
| Jörg Pöhler, Rüdiger Kleinke (beide OTTEC Technology GmbH) | „For the design and development of the battery-operated series of fog machines known as "Tiny Foggers"“ | |
| Sebastian Cramer, Andreas Dasser (P&S Technik GmbH) | „For the invention and general design (Cramer) and for the mechanical design (Dasser, Leiter für Entwicklung bei P&S Technik GmbH) of the Skater Dolly and its family of products“ | |
| Víctor González, Ignacio Vargas, Ángel Tena | „For the creation of the RealFlow software application“ | |
| Jonathan Cohen, Jerry Tessendorf, Jeroen Molemaker, Michael Kowalski | „For the development of the system of fluid dynamics tools at Rhythm & Hues“ | |
| Duncan Brinsmead, Jos Stam, Julia Pakalns, Martin Werner | „For the design and implementation of the Maya Fluid Effects system“ | |
| Stephan Trojansky, Thomas Ganshorn, Oliver Pilarski | „For the development of the Flowline fluid effects system“ | |
| 2009 | Steve Hylén | „For the concept and his continued leadership in the further development of the Hylén Lens System for motion picture effects photography“ |
| Jahr | Preisträger | Preisbegründung (englisch) |
|---|---|---|
| 2010 | Mark Wolforth, Tony Sedivy | „For their contributions to the development of the Truelight real-time 3D look-up table hardware system“ |
| Klaus Anderle, Christian Baeker, Frank Billaschco | „For their contributions to the LUTher 3D look-up table hardware device and color management software“ | |
| Steve Sullivan, Kevin Wooley, Brett Allen, Colin Davidson | „For the development of the Imocap on-set performance capture system“ | |
| Hayden Landis, Ken McGaugh, Hilmar Koch | „For advancing the technique of ambient occlusion rendering“ | |
| Bjorn Heden | „For the design and mechanical engineering of the silent, two-stage planetary friction drive Heden Lens Motors“ | |
| 2011 | Greg Ercolano | „for the design and engineering of a series of software systems which led to the Rush render queue management system. His work has been influential across the industry, and has enabled scalable render farms at numerous studios“ |
| David M. Laur | „for the development of the Alfred render queue management system, which was the first robust, scalable, widely adopted commercial solution for queue management in the industry and an influence on modern day queue management tools“ | |
| Chris Allen, Gautham Krishnamurti, Mark A. Brown, Lance Kimes | „for the development of Queue, a robust, scalable approach to render queue management and one of the first systems that allowed for statistical analysis and process introspection“ | |
| Florian Kainz | „for the design and development of the ObaQ render queue management system, which has scaled from managing a few hundred processors in 1997 to many thousands today with minimal changes to the original design“ | |
| Eric Tabellion, Arnauld Lamorlette | „for the creation of a computer graphics bounce lighting methodology which impacted the evolution of global illumination techniques, first used on the film „Shrek 2,“ and which was shared with the industry in their technical paper "An Approximate Global Illumination System for Computer Generated Films"“ | |
| Tony Clark, Alan Rogers, Neil Wilson, Rory McGregor | „for cineSync, a tool for remote collaboration and review of visual effects. Easy to use, cineSync has become a widely accepted solution for remote production collaboration“ | |
| 2012 | Andrew Clinton, Mark Elendt | „for the invention and integration of micro-voxels in the Mantra software“ |
| 2013 | J.P. Lewis, Matt Cordner, Nickson Fong | „for the invention and publication of the Pose Space Deformation technique“ |
| Lawrence Kesteloot, Drew Olbrich, Daniel Wexler | „for the creation of the Light system for computer graphics lighting at PDI/DreamWorks“ | |
| Steve LaVietes, Brian Hall, Jeremy Selan | „for the creation of the Katana computer graphics scene management and lighting software at Sony Pictures Imageworks“ | |
| Theodore Kim, Nils Thürey, Markus Gross, Doug James | „for the invention, publication and dissemination of Wavelet Turbulence software“ | |
| Richard Mall | „for the design and development of the Matthews Max Menace Arm“ | |
| 2014 | Olivier Maury, Ian Sachs, Dan Piponi | „for the creation of the ILM Plume system that simulates and renders fire, smoke and explosions for motion picture visual effects“ |
| Ronald D. Henderson | „for the development of the FLUX gas simulation system“ | |
| Andrew Camenisch, David Cardwell, Tibor Madjar, Csaba Kohegyi, Imre Major | „for the concept and design [...] and the implementation of the Mudbox software“ | |
| Martin Hill, Jon Allitt, Nick McKenzie | „for the creation of the spherical harmonics-based efficient lighting system at Weta Digital“ | |
| Florian Kainz, Jeffery Yost, Philip Hubbard, Jim Hourihan | „for the architecture and development of the Zeno application framework“ | |
| Peter Huang, Chris Perry, Hans Rijpkema, Joe Mancewicz | „for their architectural contributions to the core engineering of, the Voodoo application framework“ | |
| Matt Pharr, Greg Humphreys, Pat Hanrahan | „for their formalization and reference implementation of the concepts behind physically based rendering, as shared in their book Physically Based Rendering“ | |
| Dr. Peter Hillman | „for the long-term development and continued advancement of innovative, robust and complete toolsets for deep compositing“ | |
| Colin Doncaster, Johannes Saam, Areito Echevarria, Janne Kontkanen, Chris Cooper | „for the development, prototyping and promotion of technologies and workflows for deep compositing“ | |
| Thomas Lokovic, Eric Veach | „for their influential research and publication of the fundamental concepts of deep shadowing technology“ | |
| Gifford Hooper, Philip George | „for the continuing development of the Helicam miniature helicopter camera system“ | |
| John Frazier, Chuck Gaspar, Clay Pinney | „for the design and development of the Pneumatic Car Flipper“ | |
| Joshua Pines, David Reisner, Lou Levinson, Curtis Clark, David Register | „for the development of the American Society of Cinematographers Color Decision List technology“ | |
| Jeremy Selan | „for the development of the OpenColorIO color management framework“ | |
| 2015 | Peter Braun | „for the concept and development of the MAT-Towercam Twin Peek, a portable, remote-controlled, telescoping column that smoothly positions a camera up to 24 feet vertically“ |
| Robert Nagle, Allan Padelford | „for The Biscuit Jr. self-propelled, high-performance, drivable camera and vehicle platform“ | |
| Harold Milligan, Steven Krycho, Reiner Doetzkies | „for the implementation engineering in the development of the Texas Instruments DLP Cinema digital projection technology.“ | |
| Cary Phillips, Nicolas Popravka, Philip Peterson, Colette Mullenhoff | „for the architecture, development and creation of the artist-driven interface of the ILM Shape Sculpting System“ | |
| Tim Cotter, Roger van der Laan, Ken Pearc, Greg LaSalle | „for the innovative design and development of the MOVA Facial Performance Capture system“ | |
| Dan Piponi, Kim Libreri, George Borshukov | „for their pioneering work in the development of Universal Capture at ESC Entertainment“ | |
| Marco Revelant, Alasdair Coul, Shane Cooper | „for the original concepts and artistic vision and for the original architectural and engineering design, of the Barbershop hair grooming system at Weta Digital“ | |
| Michael Sechrest, Chris King, Greg Croft | „for the modeling design and implementation, the real-time interactive engineering, and for the user interface design and implementation of SpeedTree Cinema“ | |
| Scott Peterson, Jeff Budsberg, Jonathan Gibbs | „for the design and implementation of the DreamWorks Animation Foliage System“ | |
| Erwin Coumans, Nafees Bin Zafar, Stephen Marshall | „for the development of the Bullet physics library, and for the separate development of two large-scale destruction simulation systems based on Bullet“ | |
| Brice Criswell, Ron Fedkiw | „for the development of the ILM PhysBAM Destruction System“ | |
| Ben Cole, Eric Parker, James O’Brien | „for the design of the Kali Destruction System, for the development of the Digital Molecular Matter toolkit, and for the influential research on the finite element methods that served as a foundation for these tools“ | |
| Magnus Wrenninge | „for leading the design and development of Field3D“ | |
| Robert Bridson | „for early conceptualization of sparse-tiled voxel data structures and their application to modeling and simulation“ | |
| Ken Museth, Peter Cucka, Mihai Aldén | „for the creation of OpenVDB“ | |
| 2016 | Michael John Keesling | „for the design and development of Image Shaker, an optical system that convincingly creates the illusion of the camera shaking in a variable and repeatable manner“ |
| David McIntosh, Steve Smith, Mike Branham, Michael Kirilenko | „for the engineering and development of the Aircover Inflatables Airwall“ | |
| Trevor Davies, Thomas Wan, Jon Scott Miller, Jared Smith Matthew Robinson | „for the development of the Dolby Laboratories PRM Series Reference Color Monitors“ | |
| Ronald Mallet, Christoph Bregler | „for the design and engineering of the Industrial Light & Magic Geometry Tracker, a novel, general-purpose tracker and solver“ | |
| Jim Hourihan, Alan Trombla, Seth Rosenthal | „for the design and development of the Tweak Software RV system, a highly extensible media player system“ | |
| Richard Chuang, Rahul C. Thakkar, Andrew Pilgrim, Stewart Birnam, Mark Kirk | „for the groundbreaking design, and for the review workflows and advanced playback features, of the DreamWorks Animation Media Review System“ | |
| Keith Goldfarb, Steve Linn, Brian Green, Raymond Chih | „for the development of the Rhythm & Hues Global DDR System“ | |
| J Robert Ray, Cottalango Leon, Sam Richards | „for the design, engineering and continuous development of Sony Pictures Imageworks Itview“ | |
| 2017 | Thomson Grass Valley | „for the design and engineering of the pioneering Viper FilmStream digital camera system“ |
| Larry Gritz | „for the design, implementation and dissemination of Open Shading Language (OSL)“ | |
| Carl Ludwig, Eugene Troubetzkoy, Maurice van Swaaij | „for the pioneering development of the CGI Studio renderer at Blue Sky Studios“ | |
| Brian Whited | „for the design and development of the Meander drawing system at Walt Disney Animation Studios“ | |
| Mark Rappaport, Scott Oshita, Jeff Cruts, Todd Minobe | „for the concept, design and development, for the motion analysis and CAD design, for the development of the faux-hair finish techniques, and for the character articulation and drive-train mechanisms, of the Creature Effects Animatronic Horse Puppet“ | |
| Glenn Sanders, Howard Stark | „for the design and engineering of the Zaxcom Digital Wireless Microphone System“ | |
| David Thomas, Lawrence E. Fisher, David Bundy | „for the design, development and engineering of the Lectrosonics Digital Hybrid Wireless Microphone System“ | |
| Parag Havaldar | „for the development of expression-based facial performance-capture technology at Sony Pictures Imageworks“ | |
| Nicholas Apostoloff, Geoff Wedig | „for the design and development of animation rig-based facial performance-capture systems at ImageMovers Digital and Digital Domain“ | |
| Kiran Bhat, Michael Koperwas, Brian Cantwell, Paige Warner | „for the design and development of the ILM facial performance-capture solving system“ | |
| 2018 | Jason Smith, Jeff White, Rachel Rose, Mike Jutan | „for the original design, and for the architecture and engineering, of the BlockParty procedural rigging system at Industrial Light & Magic“ |
| Joe Mancewicz, Matt Derksen, Hans Rijpkema | „for the design, architecture and implementation of the Rhythm & Hues Construction Kit rigging system“ | |
| Alex Powell, Jason Reisig, Martin Watt, Alex Wells | „for the contribution to the design and engineering, for the contribution to the interaction design, and for their contributions to the high-performance execution engine of the Premo character animation system at DreamWorks Animation.“ | |
| Rob Jensen, Thomas Hahn, George ElKoura, Adam Woodbur, Dirk Van Gelder | „for the foundational design and continued development, for the animation toolset, and for the high-performance execution engine of the Presto Animation System at Pixar Animation Studios.“ | |
| 2019 | Eric Dachs, Erik Bielefeldt, Craig Wood, Paul McReynolds | „for the design and development of the PIX System’s novel security mechanism for distributing media“ |
| Per-Anders Arvid Edwards | „for the initial design and development of the MoGraph toolset in Cinema 4D for motion graphics“ | |
| Paul Thomas Miller, Marco Paolini | „for the software design, principal engineering and continued innovation, and for the efficient, artist-friendly workflow design of the Silhouette rotoscope and paint system“ | |
| Paul Debevec, Timothy Hawkins, Wan-Chun Ma, Xueming Yu | „for the invention of the Polarized Spherical Gradient Illumination facial appearance capture method, and for the design and engineering of the Light Stage X capture system“ | |
| Thabo Beeler, Derek Bradley, Bernd Bickel, Markus Gross | „for the conception, design and engineering of the Medusa Performance Capture System“ | |
| Charles Teorell Loop | „for his influential research on the fundamental scientific properties of subdivision surfaces as 3D geometric modeling primitives“ |
| Jahr | Preisträger | Preisbegründung (englisch) |
|---|---|---|
| 2020 | Keine Preisvergabe | Keine Preisvergabe |
| 2021 | Masato Nakashima, Koichi Ueno, Junji Sakuda, Junro Yonemitsu | „for the development of the EIZO auto-calibrating SDR monitors that incorporate a built-in sensor, digital uniformity equalizer and accompanying SDK“ |
| Alejandro Arango, Gary Martinez, Robert Derry, Glenn Derry | „for the system design, ergonomics, engineering and workflow integration of the widely adopted Technoprops head-mounted camera system“ | |
| Babak Beheshti, Scott Robitille, Ian Kelly, Dejan Momcilovic | „for the development of the compact, stand-alone, phase-accurate genlock synchronization and recording module, and for the technical direction and workflow integration, of the Standard Deviation head-mounted camera system“ | |
| Sven Woop, Carsten Benthin, Attila T. Áfra, Manfred Ernst, Ingo Wald | „for core development, for motion picture feature development, and for early research and technical direction, of the Intel® Embree Ray Tracing Library“ | |
| Hayley Iben, Mark Meyer, John Anderson, Andrew Witkin | „for the Taz Hair Simulation System“ | |
| Stephen Bowline | „for the ILM HairCraft Dynamics System“ | |
| Kelly Ward Hammel, Aleka McAdams, Toby Jones, Maryann Simmons, Andy Milne | „for the Walt Disney Animation Studios Hair Simulation System“ | |
| Niall Ryan, Christoph Sprenger, Gilles Daviet | „for the Synapse Hair Simulation System“ | |
| Jens-Jørn Stokholm, Ole Moesmann | „for their innovative development of miniature high-performance DPA lavalier microphones“ | |
| Chris Countryman, Omer T. Inan | „for their engineering of the subminiature high-performance Countryman Associates lavalier microphones“ | |
| Fredrik Limsäter, Björn Rydahl, Mattias Lagergren | „for the design, architecture and engineering of ftrack Studio“ | |
| Don Parker, Matt Daw, Isaac Reuben, Colin Withers, Neil Brandt | „for the product vision and design, for the core architecture, and for the foundational engineering, of the Autodesk Shotgun post-production tracking system“ | |
| 2022 | Keine Preisvergabe | Keine Preisvergabe |
| 2023 | Howard Jensen, Danny Cangemi | „for the concept and creation, and to John Frazier for the development, of the 60- and 100-foot Rain Bars“ |
| Mark Hills, Jim Vanns | „for the design and engineering of the FQ render farm management system“ | |
| Matt Chambers | „for his contributions to modern render farm management system design as exemplified in the scheduling architectures of Cue3 and Plow“ | |
| Sébastien Deguy, Christophe Soum, Sylvain Paris, Nicolas Wirrmann | „for the concept and original implementation of Substance Engine, and for the design and engineering of Substance Designer“ | |
| David Eberle, Theodore Kim, Fernando de Goes, Audrey Wong | „for the design and development of the Fizt2 elastic simulation system“ | |
| 2024 | Bill Beck | „for his pioneering utilization of semiconductor lasers for theatrical laser projection systems“ |
| Gregory T. Niven | „for his pioneering work in using laser diodes for theatrical laser projection systems“ | |
| Yoshitaka Nakatsu, Yoji Nagao, Tsuyoshi Hirao, Tomonori Morizumi, Kazuma Kozuru | „for their development of laser diodes for theatrical laser projection systems“ | |
| Arnold Peterson, Elia P. Popov | „for their ongoing design and engineering, and to John Frazier for the initial concept of the Blind Driver Roof Pod“ | |
| Jon G. Belyeu | „for the design and engineering of Movie Works Cable Cutter devices“ | |
| James Eggleton, Delwyn Holroyd | „for the design, implementation and integration of the High-Density Encoding (HDE) lossless compression algorithm within the Codex recording toolset“ | |
| Jeff Lait, Dan Bailey, Nick Avramoussis | „for the continued evolution and expansion of the feature set of OpenVDB“ | |
| Oliver Castle, Marcus Schoo, Keith Lackey | „for the design and engineering of Atlas, and for the prototype creation and early development of Atlas“ | |
| Lucas Miller, Christopher Jon Horvath, Steve LaVietes, Joe Ardent | „for the creation of the Alembic Caching and Interchange system“ |
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