Marin's Industrial Light and Magic to get Oscar Technical Award

According to The Academy of Motion Picture Arts and Sciences, Marin's Industrial Light and Magic (who's website has of all things the terrifying image of a Tripod menacing Dakota Fanning in War of The Worlds), has won one of 15 Scientific and Technical Achievement Awards and will receive the prize at a special Scientific and Technical Awards Presentation to be held at The Beverly Wilshire on Saturday, February 20, 2010.

ILM (as Industrial Light and Magic's is called) won for the development of the Imocap on-set performance capture system. Originally developed in 2006 for Pirates of The Carribean: Dead Man's Chest, the system combines hardware and software to track live actors on-set movements and transfer them to animation for CGI characters. This video discusses the Imocap system:



There are 14 other awards and all of them reveal significant changes in film. For example, if you've ever wondered how the light that shines by as one travels through space in Star Trek is developed, it's called "Ambient Occlusion Rendering" and the Oscar for that goes to Hayden Landis, Ken McGaugh and Hilmar Koch for "advancing the technique" according to AMPAS. Here's a video from Star Trek, watch the sunlight flash during the attack on the USS Kelvin - that's an example of mbient Occlusion Rendering:



Here's the total list and description of all of the winners as described by AMAPAS:

Technical Achievement Award (Academy Certificate)

To Mark Wolforth and Tony Sedivy for their contributions to the development of the Truelight real-time 3D look-up table hardware system.

Through the use of color management software and hardware, this complete system enables accurate color presentation in the digital intermediate preview process. The Truelight system is widely utilized in digital intermediate production environments around the world.

To Dr. Klaus Anderle, Christian Baeker and Frank Billasch for their contributions to the LUTher 3D look-up table hardware device and color management software.

The LUTher hardware was the first color look-up table processor to be widely adopted by the pioneering digital intermediate facilities in the industry. This innovation allowed the facilities to analyze projected film output and build 3D look-up tables in order to emulate print film, enabling accurate color presentation.

To Steve Sullivan, Kevin Wooley, Brett Allen and Colin Davidson for the development of the Imocap on-set performance capture system.

Developed at Industrial Light & Magic and consisting of custom hardware and software, Imocap is an innovative system that successfully addresses the need for on-set, low-impact performance capture.

To Hayden Landis, Ken McGaugh and Hilmar Koch for advancing the technique of ambient occlusion rendering.

Ambient occlusion has enabled a new level of realism in synthesized imagery and has become a standard tool for computer graphics lighting in motion pictures.

To Bjorn Heden for the design and mechanical engineering of the silent, two-stage planetary friction drive Heden Lens Motors.

Solving a series of problems with one integrated mechanism, this device had an immediate and significant impact on the motion picture industry.

Scientific and Engineering Award (Academy Plaque)

To Per Christensen and Michael Bunnell for the development of point-based rendering for indirect illumination and ambient occlusion.

Much faster than previous ray-traced methods, this computer graphics technique has enabled color bleeding effects and realistic shadows for complex scenes in motion pictures.

To Dr. Richard Kirk for the overall design and development of the Truelight real-time 3D look-up table hardware device and color management software.

This complete system enables accurate color presentation in the digital intermediate preview process. The Truelight system is widely utilized in digital intermediate production environments around the world.

To Volker Massmann, Markus Hasenzahl, Dr. Klaus Anderle and Andreas Loew for the development of the Spirit 4K/2K film scanning system as used in the digital intermediate process for motion pictures.

The Spirit 4K/2K has distinguished itself by incorporating a continuous-motion transport mechanism enabling full-range, high-resolution scanning at much higher frame rates than non-continuous transport scanners.

To Michael Cieslinski, Dr. Reimar Lenz and Bernd Brauner for the development of the ARRISCAN film scanner, enabling high-resolution, high-dynamic range, pin-registered film scanning for use in the digital intermediate process.

The ARRISCAN film scanner utilizes a specially designed CMOS array sensor mounted on a micro-positioning platform and a custom LED light source. Capture of the film’s full dynamic range at various scan resolutions is implemented through sub-pixel offsets of the sensor along with multiple exposures of each frame.

To Wolfgang Lempp, Theo Brown, Tony Sedivy and Dr. John Quartel for the development of the Northlight film scanner, which enables high-resolution, pin-registered scanning in the motion picture digital intermediate process.

Developed for the digital intermediate and motion picture visual effects markets, the Northlight scanner was designed with a 6K CCD sensor, making it unique in its ability to produce high-resolution scans of 35mm, 8-perf film frames.

To Steve Chapman, Martin Tlaskal, Darrin Smart and James Logie for their contributions to the development of the Baselight color correction system, which enables real-time digital manipulation of motion picture imagery during the digital intermediate process.

Baselight was one of the first digital color correction systems to enter the digital intermediate market and has seen wide acceptance in the motion picture industry.

To Mark Jaszberenyi, Gyula Priskin and Tamas Perlaki for their contributions to the development of the Lustre color correction system, which enables real-time digital manipulation of motion picture imagery during the digital intermediate process.

Lustre is a software solution that enables non-linear, real-time digital color grading across an entire feature film, emulating the photochemical color-timing process.

To Brad Walker, D. Scott Dewald, Bill Werner and Greg Pettitt for their contributions furthering the design and refinement of the Texas Instruments DLP Projector, achieving a level of performance that enabled color-accurate digital intermediate previews of motion pictures.

Working in conjunction with the film industry, Texas Instruments created a high-resolution, color-accurate, high-quality digital intermediate projection system that could closely emulate film-based projection in a theatrical environment.

To FUJIFILM Corporation, Ryoji Nishimura, Masaaki Miki and Youichi Hosoya for the design and development of Fujicolor ETERNA-RDI digital intermediate film, which was designed exclusively to reproduce motion picture digital masters.

The Fujicolor ETERNA-RDI Type 8511/4511 digital intermediate film has thinner emulsion layers with extremely efficient couplers made possible by Super-Nano Cubic Grain Technology. This invention allows improved color sensitivity with the ability to absorb scattered light, providing extremely sharp images. The ETERNA-RDI emulsion technology also achieves less color cross-talk for exacting reproduction. Its expanded latitude and linearity provides superior highlights and shadows in a film stock with exceptional latent image stability.

To Paul Debevec, Tim Hawkins, John Monos and Mark Sagar for the design and engineering of the Light Stage capture devices and the image-based facial rendering system developed for character relighting in motion pictures.

The combination of these systems, with their ability to capture high fidelity reflectance data of human subjects, allows for the creation of photorealistic digital faces as they would appear in any lighting condition.

The Oscars for Scientific and Technical Awards Presentation will be presented at The Beverly Wilshire on Saturday, February 20, 2010.