| Academy Awards, USA | |||
| Year | Result | Award | Category/Recipient(s) |
|---|---|---|---|
| 1964 | Won | Technical Achievement Award |
Shared with: A. Arnold Gillespie (M-G-M Studios) For the engineering of an improved Background Process Projection System. |
| 1960 | Won | Scientific and Engineering Award |
Shared with: Gottschalk, Robert E. (Panavision, Inc.) Richard Moore (Panavision, Inc.) For the development of a system of producing and exhibiting wide film motion pictures known as Camera 65. |
| 1952 | Won | Oscar |
Best Sound, Recording for: The Great Caruso (1951). |
| 1948 | Won | Oscar |
Best Effects, Special Effects for: Green Dolphin Street (1947). Shared with: A. Arnold Gillespie (visual) Warren Newcombe (visual) Michael Steinore (audible) |
| Nominated | Oscar |
Best Sound, Recording for: Green Dolphin Street (1947). |
|
| 1946 | Nominated | Oscar |
Best Sound, Recording for: They Were Expendable (1945). |
| 1945 | Won | Oscar |
Best Effects, Special Effects for: Thirty Seconds Over Tokyo (1944). Shared with: A. Arnold Gillespie (photographic) Donald Jahraus (photographic) Warren Newcombe (photographic) |
| Nominated | Oscar |
Best Sound, Recording for: Kismet (1944). |
|
| 1944 | Nominated | Oscar |
Best Sound, Recording for: Madame Curie (1943). |
| 1943 | Nominated | Oscar |
Best Effects, Special Effects for: Mrs. Miniver (1942). Shared with: A. Arnold Gillespie (photographic) Warren Newcombe (photographic) |
Best Sound, Recording for: Mrs. Miniver (1942). |
| 1942 | Won | Technical Achievement Award |
Shared with: 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. |
| Nominated | Oscar |
Best Effects, Special Effects for: Flight Command (1940). Shared with: A. Arnold Gillespie (photographic) |
Best Sound, Recording for: The Chocolate Soldier (1941). |
| 1941 | Won | Oscar |
Best Sound, Recording for: Strike Up the Band (1940). |
| Nominated | Oscar |
Best Effects, Special Effects for: Boom Town (1940). Shared with: A. Arnold Gillespie (photographic) |
|
| 1940 | Nominated | Oscar |
Best Effects, Special Effects for: The Wizard of Oz (1939). Shared with: A. Arnold Gillespie (photographic) |
Best Sound, Recording for: Balalaika (1939). |
| 1939 | Nominated | Oscar |
Best Sound, Recording for: Sweethearts (1938). |
| 1938 | Won | Scientific and Engineering Award |
(M-G-M Studio Sound Dept.). For a method of varying the scanning width of variable density sound tracks (squeeze tracks) for the purpose of obtaining an increased amount of noise reduction. |
| Technical Achievement Award |
(M-G-M SSD). For the design of the film drive mechanism as incorporated in the ERPI 1010 reproducer. |
||
| Nominated | Oscar |
Best Sound, Recording for: Maytime (1937). |
|
| 1937 | Won | Academy Award of Merit |
(M-G-M SSD). For the development of a practical two-way horn system and a biased Class A push-pull recording system. |
| Oscar |
Best Sound, Recording for: San Francisco (1936). |
||
| 1936 | Won | Oscar |
Best Sound, Recording for: Naughty Marietta (1935). (M-G-M SSD). |
| Technical Achievement Award |
(M-G-M SSD). For their automatic control system for cameras and sound recording machines and auxiliary stage equipment. |
||
| 1935 | Nominated | Oscar |
Best Sound, Recording for: Viva Villa! (1934). (M-G-M Studio Sound Department). |
| 1930 | Won | Oscar |
Best Sound, Recording for: The Big House (1930). (M-G-M Studio Sound Department). |
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