The highlight of the Academy’s 89th Sci-Tech Awards Saturday at the Beverly Wilshire was the pioneering efforts of five digital cinematography cameras that stood out among this year’s 18 recipients, acknowledging the dominance of the craft.
Receiving Academy plaques were Arri for the Super 35 Alexa, Red Digital Cinema for the Red Epic, Sony for the F65 CineAlta (with full 4K output), and Panavision and Sony for the groundbreaking Genesis.
Additionally, the formerly-named Thomson Grass Valley received a certificate for the Viper FilmStream system for importing into digital intermediate workflows.
Oscar-nominated “Arrival” (Bradford Young), “Moonlight” (James Laxton), and the Asc-winning “Lion” (Greig Fraser) were all shot on the Alexa.
In terms of animation and VFX, other areas of innovation emphasized rendering and facial performance capture, including Disney, Industrial Light & Magic, Weta Digital, Blue Sky, Sony Pictures Imageworks, among others.
Disney’s Brian Whited accepted a technical achievement certificate for...
Receiving Academy plaques were Arri for the Super 35 Alexa, Red Digital Cinema for the Red Epic, Sony for the F65 CineAlta (with full 4K output), and Panavision and Sony for the groundbreaking Genesis.
Additionally, the formerly-named Thomson Grass Valley received a certificate for the Viper FilmStream system for importing into digital intermediate workflows.
Oscar-nominated “Arrival” (Bradford Young), “Moonlight” (James Laxton), and the Asc-winning “Lion” (Greig Fraser) were all shot on the Alexa.
In terms of animation and VFX, other areas of innovation emphasized rendering and facial performance capture, including Disney, Industrial Light & Magic, Weta Digital, Blue Sky, Sony Pictures Imageworks, among others.
Disney’s Brian Whited accepted a technical achievement certificate for...
- 2/12/2017
- by Bill Desowitz
- Indiewire
Leslie Mann and John Cho make a stunning pair of hosts.
The actors brought their A-game as they prepared to host the Academy's Sci-Tech Awards at the Beverly Wilshire Hotel in Beverly Hills, California, on Saturday.
Watch: 2017 Oscar Awards Nominees: 'La La Land' Leads With 14 Nominations
Before the ceremony started, the Academy shared an inside peek at the night on Twitter.
Getty Images
The Academy announced last month that 18 scientific and technical achievements would be honored at the annual Scientific and Technical Awards presentation. See the honorees below:
Technical Achievement Awards (Academy Certificates)
Thomson Grass Valley for the design and engineering of the pioneering Viper FilmStream digital camera system.
Larry Gritz for the design, implementation and dissemination of Open Shading Language (Osl).
Carl Ludwig, Eugene Troubetzkoy and Maurice van Swaaij for the pioneering development of the CGI Studio renderer at Blue Sky Studios.
Brian Whited for the design and development of the Meander drawing system...
The actors brought their A-game as they prepared to host the Academy's Sci-Tech Awards at the Beverly Wilshire Hotel in Beverly Hills, California, on Saturday.
Watch: 2017 Oscar Awards Nominees: 'La La Land' Leads With 14 Nominations
Before the ceremony started, the Academy shared an inside peek at the night on Twitter.
Getty Images
The Academy announced last month that 18 scientific and technical achievements would be honored at the annual Scientific and Technical Awards presentation. See the honorees below:
Technical Achievement Awards (Academy Certificates)
Thomson Grass Valley for the design and engineering of the pioneering Viper FilmStream digital camera system.
Larry Gritz for the design, implementation and dissemination of Open Shading Language (Osl).
Carl Ludwig, Eugene Troubetzkoy and Maurice van Swaaij for the pioneering development of the CGI Studio renderer at Blue Sky Studios.
Brian Whited for the design and development of the Meander drawing system...
- 2/12/2017
- Entertainment Tonight
Louisa Mellor Jul 13, 2016
Blue Sky Studios’ CGI work on Alien: Resurrection began a long and fruitful relationship with 20th Century Fox…
When Blue Sky Studios was tasked with creating swimming CGI Xenomorphs for the fourth film in the Alien franchise, its animators looked to inspiration from the natural world. Aptly for Hr Giger’s demonic creations, said inspiration was found in a Galapagos Island creature nicknamed by Charles Darwin the “imp of darkness”.
“We patterned [the Xenomorphs’] movements on reference footage of sea iguanas” Blue Sky’s Digital Effects Supervisor for Alien: Resurrection Mitch Kopelman told American Cinematographer magazine in November 1997. “They have this crazy little swim where they tuck their legs under their bodies and use this really long tail to propel themselves.” After much work, the end result was the CGI swimming aliens that pursued Ellen Ripley and co. through the flooded kitchens of the Usm Auriga in the 1997 sequel.
Blue Sky Studios’ CGI work on Alien: Resurrection began a long and fruitful relationship with 20th Century Fox…
When Blue Sky Studios was tasked with creating swimming CGI Xenomorphs for the fourth film in the Alien franchise, its animators looked to inspiration from the natural world. Aptly for Hr Giger’s demonic creations, said inspiration was found in a Galapagos Island creature nicknamed by Charles Darwin the “imp of darkness”.
“We patterned [the Xenomorphs’] movements on reference footage of sea iguanas” Blue Sky’s Digital Effects Supervisor for Alien: Resurrection Mitch Kopelman told American Cinematographer magazine in November 1997. “They have this crazy little swim where they tuck their legs under their bodies and use this really long tail to propel themselves.” After much work, the end result was the CGI swimming aliens that pursued Ellen Ripley and co. through the flooded kitchens of the Usm Auriga in the 1997 sequel.
- 7/12/2016
- Den of Geek
Welcome to the Animation Fascination podcast. Hosted by Marc Vibbert and Matt Quest, this podcast focuses on all the fused fun in the world of animation! Each episode will feature an animated series or film from the past or present. Traditionally hand drawn, computer generated, or stop motion/claymation, if it’s animated, its up for discussion! Entertainment Overload Radio is the official podcast network of FusedFilm.com and also includes the Film Bomb and FusedTV podcasts. Please tell us what you think in the comments below!
Right Click Here To Download This Episode Now!
Subscribe via: RSS or iTunes
News Shaun Of The Dead / Scott Pilgrim Style From Edgar Wright’s blog: It’s ‘Shaun Of The Dead’ done in 60 seconds, done in the style of the Scott Pilgrim comics. With a couple of nods to Spaced and Hot Fuzz thrown in for good measure. Pixar Fan Art Group...
Right Click Here To Download This Episode Now!
Subscribe via: RSS or iTunes
News Shaun Of The Dead / Scott Pilgrim Style From Edgar Wright’s blog: It’s ‘Shaun Of The Dead’ done in 60 seconds, done in the style of the Scott Pilgrim comics. With a couple of nods to Spaced and Hot Fuzz thrown in for good measure. Pixar Fan Art Group...
- 4/24/2011
- by Vactor
- FusedFilm
Palm Springs International Film Festival
PALM SPRINGS -- It's easy to see why director Nadav Schirman plans to adapt his first film, the documentary The Champagne Spy, into an English-language narrative feature. The story of Ze'ev Gur Arie, aka Wolfgang Lotz, is the stuff of Cold War glamour and international intrigue, with a dark personal twist.
Lotz was a German-born Israeli spy who so fully adopted his undercover identity that he left behind a wife and child. Focusing on the testimony of Lotz's fellow Mossad agents and especially his son, all speaking on camera for the first time, "Spy" is a compelling if sometimes frustratingly limited film. It screened in the Palm Springs festival's New Israeli Cinema section and was awarded the John Schlesinger Award for outstanding first feature.
Pertinent elements of Lotz's fascinating background -- he was half-Jewish; his mother was an actress -- get no mention here as Schirman dives straight into Major Ze'ev Gur Arie's 1961 assignment to Paris. His son, Oded Gur Arie, was not yet 12 when they moved from Israel, and he shot much of the 8mm home-movie footage excerpted in the film. Walking through Paris parks, his father is upright and dapper. His mother, Rivka, stylish in '60s sunglasses and White Gloves, remains the sorrowful mystery in this story.
Gur Arie had broken the rules by telling Rivka and Oded the nature of his work. But it was in the pages of the Paris Herald Tribune that they learned of his bigamous second marriage, his arrest in Egypt and subsequent trial. Posing as a former Nazi Party member in Cairo, Gur Arie had become Wofgang Lotz, living a life of country-club leisure as owner of a horse-breeding farm. His goal was to root out Nazi scientists who might be of help to Egypt. He also fell in love with a German woman and convinced his horrified Mossad superiors that marrying her would serve his mission.
Schirman has rooted out extraordinary footage of Wolfgang and Wilfraud Lotz in prison; it might have been a show moment for the Egyptians, but the affection between them is genuine. Wilfraud paid the ultimate price for her love, and few people around Lotz went unscathed.
A 1960s-style horizontal split screen and Ran Bagno's jazzy spy-movie score are apt counterpoint to the story's emotional undertow. Chronicling the collateral damage inflicted on family and friends, "Spy" presents the flip side to James Bond dazzle.
THE CHAMPAGNE SPY
July August Prods./Lichtblick Film
Credits:
Writer-director: Nadav Schirman
Producers: Eilon Ratzkowsky, Koby Gal-Raday, Carl Ludwig Rettinger, Yossi Uzrad
Director of photography: Itai Neeman
Music: Ran Bagno
Editor: Joelle Alexis
Running time -- 89 minutes
No MPAA rating...
PALM SPRINGS -- It's easy to see why director Nadav Schirman plans to adapt his first film, the documentary The Champagne Spy, into an English-language narrative feature. The story of Ze'ev Gur Arie, aka Wolfgang Lotz, is the stuff of Cold War glamour and international intrigue, with a dark personal twist.
Lotz was a German-born Israeli spy who so fully adopted his undercover identity that he left behind a wife and child. Focusing on the testimony of Lotz's fellow Mossad agents and especially his son, all speaking on camera for the first time, "Spy" is a compelling if sometimes frustratingly limited film. It screened in the Palm Springs festival's New Israeli Cinema section and was awarded the John Schlesinger Award for outstanding first feature.
Pertinent elements of Lotz's fascinating background -- he was half-Jewish; his mother was an actress -- get no mention here as Schirman dives straight into Major Ze'ev Gur Arie's 1961 assignment to Paris. His son, Oded Gur Arie, was not yet 12 when they moved from Israel, and he shot much of the 8mm home-movie footage excerpted in the film. Walking through Paris parks, his father is upright and dapper. His mother, Rivka, stylish in '60s sunglasses and White Gloves, remains the sorrowful mystery in this story.
Gur Arie had broken the rules by telling Rivka and Oded the nature of his work. But it was in the pages of the Paris Herald Tribune that they learned of his bigamous second marriage, his arrest in Egypt and subsequent trial. Posing as a former Nazi Party member in Cairo, Gur Arie had become Wofgang Lotz, living a life of country-club leisure as owner of a horse-breeding farm. His goal was to root out Nazi scientists who might be of help to Egypt. He also fell in love with a German woman and convinced his horrified Mossad superiors that marrying her would serve his mission.
Schirman has rooted out extraordinary footage of Wolfgang and Wilfraud Lotz in prison; it might have been a show moment for the Egyptians, but the affection between them is genuine. Wilfraud paid the ultimate price for her love, and few people around Lotz went unscathed.
A 1960s-style horizontal split screen and Ran Bagno's jazzy spy-movie score are apt counterpoint to the story's emotional undertow. Chronicling the collateral damage inflicted on family and friends, "Spy" presents the flip side to James Bond dazzle.
THE CHAMPAGNE SPY
July August Prods./Lichtblick Film
Credits:
Writer-director: Nadav Schirman
Producers: Eilon Ratzkowsky, Koby Gal-Raday, Carl Ludwig Rettinger, Yossi Uzrad
Director of photography: Itai Neeman
Music: Ran Bagno
Editor: Joelle Alexis
Running time -- 89 minutes
No MPAA rating...
- 1/15/2008
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.