The Academy of Motion Picture Arts and Sciences today announced that 19 scientific and technical achievements represented by 52 individual award recipients will be honored at its annual Scientific and Technical Awards Presentation on Saturday, February 15, at The Beverly Hills Hotel.
In addition, visual effects supervisor and director of photography Peter W. Anderson will receive the Gordon E. Sawyer Award (an Oscar® statuette) for technological contributions that have brought credit to the industry. Post-production and distribution executive Charles “Tad” Marburg will receive the John A. Bonner Medal of Commendation for outstanding service and dedication in upholding the high standards of the Academy.
For the first time in the history of the Scientific and Technical Awards, a large number of individuals, collectively, will be recognized with an Academy Award® of Merit (an Oscar statuette). The award is dedicated to “all those who built and operated film laboratories, for over a century of service to the motion picture industry.
In addition, visual effects supervisor and director of photography Peter W. Anderson will receive the Gordon E. Sawyer Award (an Oscar® statuette) for technological contributions that have brought credit to the industry. Post-production and distribution executive Charles “Tad” Marburg will receive the John A. Bonner Medal of Commendation for outstanding service and dedication in upholding the high standards of the Academy.
For the first time in the history of the Scientific and Technical Awards, a large number of individuals, collectively, will be recognized with an Academy Award® of Merit (an Oscar statuette). The award is dedicated to “all those who built and operated film laboratories, for over a century of service to the motion picture industry.
- 1/9/2014
- by Michelle McCue
- WeAreMovieGeeks.com
Oscar statuette - Gordon E. Sawyer Award 2014 - for ‘Godzilla,’ ‘Close Encounters of the Third Kind’ visual effects artist Peter Anderson The Academy of Motion Picture Arts and Sciences has announced that visual effects supervisor and director of photography Peter W. Anderson will receive the Gordon E. Sawyer Award (an Oscar statuette) "for technological contributions that have brought credit to the industry" at the Academy’s Scientific and Technical Awards Presentation on Saturday, February 15, 2014, at the Beverly Hills Hotel in, where else, Beverly Hills. Portions of the presentation will be included in the Oscar 2014 telecast to be hosted by Ellen DeGeneres. Listed on the IMDb as Peter Anderson, the next Gordon E. Sawyer Award recipient has been in the film business for nearly four decades. His earliest IMDb film credit is for the visual effects in Berry Gordy and Jack Wormser’s 1975 romantic drama Mahogany, starring Diana Ross, Billy Dee Williams,...
- 1/9/2014
- by Steve Montgomery
- Alt Film Guide
The body will honour 19 scientific and technical achievements represented by 52 individuals on February 15 in Beverly Hills.In addition visual effects supervisor and cinematographer Peter W Anderson will receive the Gordon E Sawyer Award, an Oscar statuette, “for technological contributions that have brought credit to the industry.”Post-production and distribution executive Charles “Tad” Marburg will receive the John A Bonner Medal Of Commendation “for outstanding service and de
The body will honour 19 scientific and technical achievements represented by 52 individuals on February 15 in Beverly Hills.
In addition visual effects supervisor and cinematographer Peter W Anderson will receive the Gordon E Sawyer Award, an Oscar statuette, “for technological contributions that have brought credit to the industry.”
Post-production and distribution executive Charles “Tad” Marburg will receive the John A Bonner Medal Of Commendation “for outstanding service and dedication in upholding the high standards of the Academy.”
For the first time in the history of the scientific and technical awards the Academy...
The body will honour 19 scientific and technical achievements represented by 52 individuals on February 15 in Beverly Hills.
In addition visual effects supervisor and cinematographer Peter W Anderson will receive the Gordon E Sawyer Award, an Oscar statuette, “for technological contributions that have brought credit to the industry.”
Post-production and distribution executive Charles “Tad” Marburg will receive the John A Bonner Medal Of Commendation “for outstanding service and dedication in upholding the high standards of the Academy.”
For the first time in the history of the scientific and technical awards the Academy...
- 1/8/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
The Academy of Motion Picture Arts and Sciences named the 19 achievements that will be celebrated by the Academy at the Scientific and Technical Awards Presentation Saturday, Feb. 15.
The awards will be presented separately from the Oscars, and are, indeed, awarded through a different process. The technologies honored do not need to have been invented in the year 2013 to win, rather, they need to have been proven to be vital contributions to filmmaking.
“This year’s honorees have in a myriad of ways enabled today’s moviegoing experience. Their efforts have advanced not only the art and science of motion pictures, but the work of countless global industries,” proclaimed Richard Edlund, the Scientific and Technical Awards Committee Chair, himself an Oscar-winner for his work in visual effects.
Here is the entire list as presented in the press official Academy press release:
To Olivier Maury, Ian Sachs and Dan Piponi for the...
The awards will be presented separately from the Oscars, and are, indeed, awarded through a different process. The technologies honored do not need to have been invented in the year 2013 to win, rather, they need to have been proven to be vital contributions to filmmaking.
“This year’s honorees have in a myriad of ways enabled today’s moviegoing experience. Their efforts have advanced not only the art and science of motion pictures, but the work of countless global industries,” proclaimed Richard Edlund, the Scientific and Technical Awards Committee Chair, himself an Oscar-winner for his work in visual effects.
Here is the entire list as presented in the press official Academy press release:
To Olivier Maury, Ian Sachs and Dan Piponi for the...
- 1/8/2014
- Uinterview
Eastman Kodak's wholly owned post subsidiary, LaserPacific Media, is extending its digital services.
The entity is forming a digital-mastering services business unit that will handle new titles as well as the remastering of film elements from studio libraries to create digital elements for new distribution formats as well as preservation requirements.
To lead the business, LaserPacific has brought on a pair of respected industry veterans: Ron Burdett, who will serve as Gm, and supervising mastering colorist Lou Levinson.
"There is a need for extremely high-quality masters now that there are new display technologies in the home and delivery formats like Blu-ray," LaserPacific president Leon Silverman said. "As a result, the studios are going back into their libraries and remastering titles that have already been mastered. Because we are moving from a videotape to file-based world ... it makes sense to have the file-based, not tape-based, master elements of the highest possible quality.
The entity is forming a digital-mastering services business unit that will handle new titles as well as the remastering of film elements from studio libraries to create digital elements for new distribution formats as well as preservation requirements.
To lead the business, LaserPacific has brought on a pair of respected industry veterans: Ron Burdett, who will serve as Gm, and supervising mastering colorist Lou Levinson.
"There is a need for extremely high-quality masters now that there are new display technologies in the home and delivery formats like Blu-ray," LaserPacific president Leon Silverman said. "As a result, the studios are going back into their libraries and remastering titles that have already been mastered. Because we are moving from a videotape to file-based world ... it makes sense to have the file-based, not tape-based, master elements of the highest possible quality.
- 11/12/2008
- by By Carolyn Giardina
- The Hollywood Reporter - Movie News
As more digital imagery travels from one platform to another, new industrywide software code has been developed to ensure that colors remain correct.
After a massive collaborative effort and more than two years of work, the American Society of Cinematographers has completed version 1.0 of its Color Decision List, commonly referred to as the ASC CDL, and will release it next week.
The code essentially is an exchange mechanism for color correction information. "This means it is possible to create a color correction and move the color and picture to a different (technology) and get the same look, " said Post Logic Studios colorist Lou Levinson, who chairs the digital intermediate subcommittee of the ASC Technology Committee, which led the effort.
"The core idea was, 'How do you get something to look the same in two places and on two different platforms?' We tried to take a very small piece of the look management problem and wrestle it under control." The result has applications for both production and post.
After a massive collaborative effort and more than two years of work, the American Society of Cinematographers has completed version 1.0 of its Color Decision List, commonly referred to as the ASC CDL, and will release it next week.
The code essentially is an exchange mechanism for color correction information. "This means it is possible to create a color correction and move the color and picture to a different (technology) and get the same look, " said Post Logic Studios colorist Lou Levinson, who chairs the digital intermediate subcommittee of the ASC Technology Committee, which led the effort.
"The core idea was, 'How do you get something to look the same in two places and on two different platforms?' We tried to take a very small piece of the look management problem and wrestle it under control." The result has applications for both production and post.
- 6/22/2007
- The Hollywood Reporter - Movie News
As more digital imagery travels from one platform to another, new industrywide software code has been developed to ensure that colors remain correct.
After a massive collaborative effort and more than two years of work, the American Society of Cinematographers has completed version 1.0 of its Color Decision List, commonly referred to as the ASC CDL, and will release it next week.
The code essentially is an exchange mechanism for color correction information. "This means it is possible to create a color correction and move the color and picture to a different (technology) and get the same look, " said Post Logic Studios colorist Lou Levinson, who chairs the digital intermediate subcommittee of the ASC Technology Committee, which led the effort.
"The core idea was, 'How do you get something to look the same in two places and on two different platforms?' We tried to take a very small piece of the look management problem and wrestle it under control." The result has applications for both production and post.
After a massive collaborative effort and more than two years of work, the American Society of Cinematographers has completed version 1.0 of its Color Decision List, commonly referred to as the ASC CDL, and will release it next week.
The code essentially is an exchange mechanism for color correction information. "This means it is possible to create a color correction and move the color and picture to a different (technology) and get the same look, " said Post Logic Studios colorist Lou Levinson, who chairs the digital intermediate subcommittee of the ASC Technology Committee, which led the effort.
"The core idea was, 'How do you get something to look the same in two places and on two different platforms?' We tried to take a very small piece of the look management problem and wrestle it under control." The result has applications for both production and post.
- 6/22/2007
- The Hollywood Reporter - Movie News
As more digital imagery travels from one platform to another, new industrywide software code has been developed to ensure that colors remain correct.
After a massive collaborative effort and more than two years of work, the American Society of Cinematographers has completed version 1.0 of its Color Decision List, commonly referred to as the ASC CDL, and will release it next week.
The code essentially is an exchange mechanism for color correction information. "This means it is possible to create a color correction and move the color and picture to a different (technology) and get the same look, " said Post Logic Studios colorist Lou Levinson, who chairs the digital intermediate subcommittee of the ASC Technology Committee, which led the effort.
"The core idea was, 'How do you get something to look the same in two places and on two different platforms?' We tried to take a very small piece of the look management problem and wrestle it under control." The result has applications for both production and post.
After a massive collaborative effort and more than two years of work, the American Society of Cinematographers has completed version 1.0 of its Color Decision List, commonly referred to as the ASC CDL, and will release it next week.
The code essentially is an exchange mechanism for color correction information. "This means it is possible to create a color correction and move the color and picture to a different (technology) and get the same look, " said Post Logic Studios colorist Lou Levinson, who chairs the digital intermediate subcommittee of the ASC Technology Committee, which led the effort.
"The core idea was, 'How do you get something to look the same in two places and on two different platforms?' We tried to take a very small piece of the look management problem and wrestle it under control." The result has applications for both production and post.
- 6/22/2007
- The Hollywood Reporter - Movie News
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