Leslie Mann and John Cho present Technical Achievement Awards to Kiran Bhat, Michael Koperwas, Brian Cantwell and Paige Warner for the design and development of the ILM facial performance-capture solving system.
ILM London is Hiring!! Calling all VFX Animators, FX TD’s, Creature TD’s, Modellers and Texture Artists…We have immediate requirements across all shows including Star Wars Episode VIII, Ready Player One, Transformers V and Jurassic World II. Please send reels and CV’s to: firstname.lastname@example.org
Academy Names 18 for Scientific and Technical Achievements
The Academy of Motion Picture Arts and Sciences announced today that 18 scientific and technical achievements represented by 34 individual award recipients, as well as five organizations, will be honored at its annual Scientific and Technical Awards Presentation on Saturday, February 11, 2017 at the Beverly Wilshire in Beverly Hills.
“This year we are particularly pleased to be able to honor not only a wide range of new technologies, but also the pioneering digital cinema cameras that helped facilitate the widespread conversion to electronic image capture for motion picture production,” said Ray Feeney, Academy Award® recipient and chair of the Scientific and Technical Awards Committee. “With their outstanding, innovative work, these technologists, engineers and inventors have significantly expanded filmmakers’ creative choices for moving image storytelling.”
Unlike other Academy Awards to be presented this year, achievements receiving Scientific and Technical Awards need not have been developed and introduced during 2016. Rather, the achievements must demonstrate a proven record of contributing significant value to the process of making motion pictures.
Recipients of Academy certificates for Technical Achievements include:
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.
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.
Meander’s innovative curve-rendering method faithfully captures the artist’s intent, resulting in a significant improvement in creative communication throughout the production pipeline.
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.
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.
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.
Recipients of Academy plaques for scientific and engineering awards are:
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.
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.
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.
Phil Tippett is the Oscar-winning stop-motion animator and designer behind some of the greatest fantasy creatures and sci-fi set pieces in cinema history. From his humble beginnings as an alien patron in the iconic Cantina sequence from ‚Star Wars: A New Hope‘, to pioneering stop-motion techniques used throughout ‚Empire Strikes Back‘ and ‚Return of the Jedi‘, to seamlessly merging practical animation and CGI in Jurassic Park and beyond. In ‚My Life in Monsters‘, VICE chronicles Tippett’s legendary life work, illustrating the process behind his greatest creations, the emotional hardships of transitioning into Hollywood’s digital revolution, and completing his return-to-form, stop-motion opus with the brutal, dystopian ‚Mad God‘.
ILM London is Hiring!! 2016 is going to be a big year with some fantastic projects coming to London including Teenage Mutant Ninja Turtles 2 and Star Wars Episode VIII. We have immediate needs for Lighters, Compositors, Creature TD’s (Riggers + Cloth and Fur Sims) and Hard Surface Modellers. Please get in touch with reels and CV’s: email@example.com