Amerykańska Akademia Filmowa ogłosiła laureatów dorocznych nagród naukowo-technicznych. Są nimi wyróżniani specjaliści, którzy wpływają na rozwój sztuki filmowej od jej technicznej strony oraz firmy stosujące innowacje, nowe i genialne rozwiązania.
W tym roku doceniono osoby, które
m.in.: rozwinęły innowacyjny system kamer cyfrowych, stworzyły program
cieniowania i teksturowania, pomogły twórcom zachować lepszą kontrolę nad pracą
przy komputerowej animacji, zwiększyły realizm tworzonych filmów za pomocą
animatroniki, poprawiły pracę z dźwiękiem na planie i lepszą jego kontrolę, poprawiły
funkcjonowania motion-capture i performance-capture. Wyróżnienia od Akademii
otrzymały też firmy, za stworzenie nowych narzędzi do pracy w przemyśle
filmowym. Są w tym gronie m.in.: ARRI i ich kamera Alexa, RED Digital Cinema z
rewolucyjnymi kamerami RED, firma Sony rozwijająca CineAlta i jej aparat F65,
Panavision i Sony za przełomową kamerę cyfrową Genesis.
W sumie Akademia wyróżniła 18
osiągnięć naukowo-technicznych, których twórcami było 34 osób oraz pięć
organizacji. Specjalna uroczystość, w trakcie której wręczone zostaną te
nagrody odbędzie się 11 lutego 2017, a jej fragmenty zostaną zaprezentowane
podczas gali wręczenia Oscarów 26 lutego 2017.
Pełna lista nagrodzonych (w
oryginale):
TECHNICAL ACHIEVEMENT
AWARDS (ACADEMY CERTIFICATES)
To Thomson Grass Valley for the design and
engineering of the pioneering Viper FilmStream digital camera system.
The Viper camera enabled frame-based
logarithmic encoding, which provided uncompressed camera output suitable for
importing into existing digital intermediate workflows.
To Larry Gritz for the design, implementation
and dissemination of Open Shading Language (OSL).
OSL is a highly optimized runtime architecture
and language for programmable shading and texturing that has become a de facto
industry standard. It enables artists at all levels of technical proficiency to
create physically plausible materials for efficient production rendering.
To Carl Ludwig, Eugene Troubetzkoy and Maurice
van Swaaij for the pioneering development of the CGI Studio renderer at Blue
Sky Studios.
CGI Studio’s groundbreaking ray-tracing and
adaptive sampling techniques, coupled with streamlined artist controls,
demonstrated the feasibility of ray-traced rendering for feature film
production.
To Brian Whited for the design and development
of the Meander drawing system at Walt Disney Animation Studios.
Meander’s innovative curve-rendering method
faithfully captures the artist’s intent, resulting in a significant improvement
in creative communication throughout the production pipeline.
To Mark Rappaport for the concept, design and
development, to Scott Oshita for the motion analysis and CAD design, to Jeff
Cruts for the development of the faux-hair finish techniques, and to Todd
Minobe for the character articulation and drive-train mechanisms, of the
Creature Effects Animatronic Horse Puppet.
The Animatronic Horse Puppet provides increased
actor safety, close integration with live action, and improved realism for
filmmakers.
To Glenn Sanders and Howard Stark for the
design and engineering of the Zaxcom Digital Wireless Microphone System.
The Zaxcom system has advanced the state of
wireless microphone technology by creating a fully digital modulation system
with a rich feature set, which includes local recording capability within the
belt pack and a wireless control scheme providing real-time transmitter control
and time-code distribution.
To David Thomas, Lawrence E. Fisher and David
Bundy for the design, development and engineering of the Lectrosonics Digital
Hybrid Wireless Microphone System.
The Lectrosonics system has advanced the state
of wireless microphone technology by developing a method to digitally transmit
full-range audio over a conventional analog FM radio link, reducing transmitter
size, and increasing power efficiency.
To Parag Havaldar for the development of
expression-based facial performance-capture technology at Sony Pictures
Imageworks.
This pioneering system enabled large-scale use
of animation rig-based facial performance-capture for motion pictures,
combining solutions for tracking, stabilization, solving and
animator-controllable curve editing.
To Nicholas Apostoloff and Geoff Wedig for the
design and development of animation rig-based facial performance-capture
systems at ImageMovers Digital and Digital Domain.
These systems evolved through independent, then
combined, efforts at two different studios, resulting in an
artist-controllable, editable, scalable solution for the high-fidelity transfer
of facial performances to convincing digital characters.
To Kiran Bhat, Michael Koperwas, Brian Cantwell
and Paige Warner for the design and development of the ILM facial
performance-capture solving system.
This system enables high-fidelity facial
performance transfer from actors to digital characters in large-scale productions
while retaining full artistic control, and integrates stable rig-based solving
and the resolution of secondary detail in a controllable pipeline.
SCIENTIFIC AND ENGINEERING AWARDS (ACADEMY PLAQUES)
To ARRI for the pioneering design and
engineering of the Super 35 format Alexa digital camera system.
With an intuitive design and appealing image
reproduction, achieved through close collaboration with filmmakers, ARRI’s
Alexa cameras were among the first digital cameras widely adopted by
cinematographers.
To RED Digital Cinema for the pioneering design
and evolution of the RED Epic digital cinema cameras with upgradeable
full-frame image sensors.
RED’s revolutionary design and innovative
manufacturing process have helped facilitate the wide adoption of digital image
capture in the motion picture industry.
To Sony for the development of the F65 CineAlta
camera with its pioneering high-resolution imaging sensor, excellent dynamic
range, and full 4K output.
Sony’s unique photosite orientation and true
RAW recording deliver exceptional image quality.
To Panavision and Sony for the conception and
development of the groundbreaking Genesis digital motion picture camera.
Using a familiar form factor and accessories,
the design features of the Genesis allowed it to become one of the first
digital cameras to be adopted by cinematographers.
To Marcos Fajardo for the creative vision and
original implementation of the Arnold Renderer, and to Chris Kulla, Alan King,
Thiago Ize and Clifford Stein for their highly optimized geometry engine and
novel ray-tracing algorithms which unify the rendering of curves, surfaces,
volumetrics and subsurface scattering as developed at Sony Pictures Imageworks
and Solid Angle SL.
Arnold’s scalable and memory-efficient
single-pass architecture for path tracing, its authors’ publication of the
underlying techniques, and its broad industry acceptance were instrumental in
leading a widespread adoption of fully ray-traced rendering for motion
pictures.
To Vladimir Koylazov for the original concept,
design and implementation of V-Ray from Chaos Group.
V-Ray’s efficient production-ready approach to
ray-tracing and global illumination, its support for a wide variety of
workflows, and its broad industry acceptance were instrumental in the
widespread adoption of fully ray-traced rendering for motion pictures.
To Luca Fascione, J.P. Lewis and Iain Matthews
for the design, engineering, and development of the FACETS facial performance
capture and solving system at Weta Digital.
FACETS was one of the first reliable systems to
demonstrate accurate facial tracking from an actor-mounted camera, combined
with rig-based solving, in large-scale productions. This system enables
animators to bring the nuance of the original live performances to a new level
of fidelity for animated characters.
To Steven Rosenbluth, Joshua Barratt, Robert
Nolty and Archie Te for the engineering and development of the Concept
Overdrive motion control system.
This user-friendly hardware and software system
creates and controls complex interactions of real and virtual motion in hard
real-time, while safely adapting to the needs of on-set filmmakers.
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