73rd Academy Awards

• Russell Crowe

Maximus Decimus Meridius

• Benicio Del Toro

Javier Rodriguez

• Julia Roberts

Erin Brockovich

• Marcia Gay Harden

Lee Krasner

• Tim Yip

• Peter Pau

• Janty Yates

• Steven Soderbergh

• Mark Harris
• Deborah Oppenheimer

• Tracy Seretean

• Stephen Mirrione

Taiwan

• Rick Baker
• Gail Ryan

• Tan Dun

• Bob Dylan

Things Have Changed

• Douglas Wick
• Branko Lustig
• David Franzoni

• Michael Dudok de Wit

• Florian Gallenberger

• Bob Beemer
• Scott Millan
• Ken Weston

• Jon Johnson

• John Nelson
• Neil Corbould
• Tim Burke
• Rob Harvey

• Stephen Gaghan

• Cameron Crowe

• Jack Cardiff

• Ernest Lehman

• Dino De Laurentiis

• Irwin Young

• Loren Carpenter
• Rob Cook
• Ed Catmull

Special Photographic

Their broad professional influence in the industry continues to inspire and contribute to the advancement of computer-generated imagery for motion pictures.

• Fox Film Corporation
• Al Mayer Sr.

Camera

This camera brings the full uncompromised performance of larger heavy-duty cameras to the lightest weight category with ruggedness and advanced features previously expected only in specialized or effects cameras.

• COLIN F. MOSSMAN
• Joe Wary
• Gerald Painter

Laboratory

This release print system at Deluxe Laboratories utilizes a revolutionary design allowing for higher print volumes, reduced space requirements for loop racks and elevators, and safer operation.

• Alvah J. Miller
• Paul Johnson

Camera

This camera motor, operated with programmable microprocessors, achieves an unprecedented range of precisely controlled speeds in stand-alone cameras or when synchronized to motion-control systems.

• Akai Digital

Sound

[These] digital audio dubbers have afforded the post-production community a faster, more cost-effective means of playing back hundreds of digital audio tracks for pre-mixing or final mixing in creating motion picture sound tracks. They also offer individual track slipping in multiple track configurations, random access recall, and both destructive and non-destructive editing capabilities, eliminating the requirements for razor blade conforming.

• Fairlight

Sound

[These] digital audio dubbers have afforded the post-production community a faster, more cost-effective means of playing back hundreds of digital audio tracks for pre-mixing or final mixing in creating motion picture sound tracks. They also offer individual track slipping in multiple track configurations, random access recall, and both destructive and non-destructive editing capabilities, eliminating the requirements for razor blade conforming.

• ADVANCED DIGITAL SYSTEMS GROUP (ADSG)

Sound

[These] digital audio dubbers have afforded the post-production community a faster, more cost-effective means of playing back hundreds of digital audio tracks for pre-mixing or final mixing in creating motion picture sound tracks. They also offer individual track slipping in multiple track configurations, random access recall, and both destructive and non-destructive editing capabilities, eliminating the requirements for razor blade conforming.

• Timeline Incorporated

Sound

[These] digital audio dubbers have afforded the post-production community a faster, more cost-effective means of playing back hundreds of digital audio tracks for pre-mixing or final mixing in creating motion picture sound tracks. They also offer individual track slipping in multiple track configurations, random access recall, and both destructive and non-destructive editing capabilities, eliminating the requirements for razor blade conforming.

• David Pringle
• Leonard Pincus
• Ashot Nalbandyan
• George Johnson
• Thomas Kong

Lighting

With the ability to dim these very high powered lights at essentially constant Kelvin temperature and without flicker, these units produce a bright and even light source for general set lighting. The availability of very high wattage units allows production to extend the hours of work past the time when the crew would otherwise have \"lost the light.\"

• Vic Armstrong

Stage Operations

Considered a standard of the industry, the Fan Descender provides a means for significantly increasing the safety of very high stunt falls. The system permits falls to be made under controlled deceleration and with a highly predictable stopping point without limitation of camera angles.

• PHILIP GREENSTREET

Stage Operations

This unique photographic scenic backing allows a smooth transition from day to night views with a single backing. The Roscolight backings provide an important new creative tool to filmmakers, saving time, money and stage space.

• Udo Schauss
• Hildegard Ebbesmeier
• Karl Lenhardt
• Ralf Linn
• Norbert Brinker

Lenses and Filters

These projection lenses provide a significant improvement in the quality of the cinema viewing experience.

• GLENN M. BERGGREN
• Horst Linge
• Wolfgang Reinecke

Lenses and Filters

The unique optical design of the Ultra-Star Plus projection lenses achieves unprecedented edge-to-edge uniformity of illumination, combined with a significant increase in screen brightness, thus providing a substantial improvement in the cinema viewing experience.

• Alvah J. Miller
• Bill Tondreau
• Paul Johnson
• DAVID STUMP

Systems

These systems digitally record live action camera and axis data with practically no impact on the live action production process, allowing compositing for visual effects to become faster and more cost-effective.

• Venkat Krishnamurthy

Special Photographic

This system streamlines the creation of 3D computer graphics models by allowing artists to convert the data from automatically scanned physical models into a user-specified configuration of patches well suited for use in computer applications.

• George Borshukov
• Kim Libreri
• Dan Piponi

Special Photographic

This component of the Manex Visual Effects Virtual Cinematography System provides theatrical-quality virtual settings.

• John P. Pytlak

Laboratory

The LAD system has become the standard method used by film laboratories and digital film recording facilities for the effecient and uniform control of color and exposure in camera negatives, interpositives and duplicate negatives.

• Fox Film Corporation
• IOAN R. ALLEN
• Mark Harrah

The adoption of the TASA loudness standard has led directly to better sound in the cinema for trailers and features alike.

• N. Paul Kenworthy Jr.