American Cinematographer - January 2016 - 97

Presenters Salvatore Totino, ASC, AIC and ASC associate member Beverly Wood pose with
Silverman during the evening's festivities.

side," said Crudo. "Bev, thank you for all
you've done, and we already miss you."
The Judges Award for Creativity
and Innovation was given to ESPN for the
creation of the ESPN Digital Center 2,
which is considered to be the first largescale, IP-based production facility of its
kind. Accepting the award, Jonathan
Pannaman, ESPN's vice president of
content and production systems, said,
"We decided to do the engineering of
this facility in-house, and I want to thank
all of the staff members who were
involved. I especially want to thank senior
management, who we went to fairly
often with hair-brained schemes, and
they continued to encourage us to try
them out."
The HPA's Engineering Excellence
Awards honor companies and individuals
for creating high-quality support for the
professional industry in such areas as
content production, finishing, distribution and archiving. Awards were given to
Canon, for the 4K Cine Zoom Lens;
Dolby Laboratories, for the Dolby Vision
Projector; Panasonic, for its 4K Camera
Imagers; Quantel, for the Pablo Rio 8K;
and Sony Electronics, for the BVMX300
Monitor.
Additionally,
Colorfront
received an honorable mention for Interactive HFR Frame-Blending.
Tom Cross, ACE took home the

Outstanding Editing award for a feature
for his work on Whiplash, which also
earned Cross the 2015 Oscar for best
editing. For television, Kristin McCasey of
Therapy Studios won for Foo Fighters:
Sonic Highways, "Nashville," and in the
commercials category, Doobie White -
also of Therapy Studios - won for GNP
Seguros, "World Cup."
Outstanding Sound awards were
presented to Alan Murray, Tom Ozanich,
John Reitz and Gregg Rudloff of Warner
Bros. Post Production Services, for American Sniper; Nello Torri and Alan Decker
of NBCUniversal StudioPost and Craig
Dellinger of Sony Sound Services, for
Homeland, "Redux"; and Jon Clarke of
Factory, for The Syria Campaign, "In
Reverse."
After the technical awards had all
been given, HPA board member Seth
Hallen and ASC associate Michael Cioni,
CEO of Light Iron, took the stage and
presented Silverman with the HPA Lifetime Achievement Award. The award is
given annually to an individual whose
contributions have had a significant
impact on postproduction. Indeed, Silverman - the general manager of Digital
Studio for Walt Disney Studios and president of the HPA - is a towering figure
in the era of digital post. Originally from
Chicago, Silverman arrived in Los Ange97


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Table of Contents for the Digital Edition of American Cinematographer - January 2016

Contents
American Cinematographer - January 2016 - Cover1
American Cinematographer - January 2016 - Cover2
American Cinematographer - January 2016 - 1
American Cinematographer - January 2016 - 2
American Cinematographer - January 2016 - Contents
American Cinematographer - January 2016 - 4
American Cinematographer - January 2016 - 5
American Cinematographer - January 2016 - 6
American Cinematographer - January 2016 - 7
American Cinematographer - January 2016 - 8
American Cinematographer - January 2016 - 9
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American Cinematographer - January 2016 - 20
American Cinematographer - January 2016 - 21
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American Cinematographer - January 2016 - 30
American Cinematographer - January 2016 - 31
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American Cinematographer - January 2016 - 33
American Cinematographer - January 2016 - 34
American Cinematographer - January 2016 - 35
American Cinematographer - January 2016 - 36
American Cinematographer - January 2016 - 37
American Cinematographer - January 2016 - 38
American Cinematographer - January 2016 - 39
American Cinematographer - January 2016 - 40
American Cinematographer - January 2016 - 41
American Cinematographer - January 2016 - 42
American Cinematographer - January 2016 - 43
American Cinematographer - January 2016 - 44
American Cinematographer - January 2016 - 45
American Cinematographer - January 2016 - 46
American Cinematographer - January 2016 - 47
American Cinematographer - January 2016 - 48
American Cinematographer - January 2016 - 49
American Cinematographer - January 2016 - 50
American Cinematographer - January 2016 - 51
American Cinematographer - January 2016 - 52
American Cinematographer - January 2016 - 53
American Cinematographer - January 2016 - 54
American Cinematographer - January 2016 - 55
American Cinematographer - January 2016 - 56
American Cinematographer - January 2016 - 57
American Cinematographer - January 2016 - 58
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American Cinematographer - January 2016 - 60
American Cinematographer - January 2016 - 61
American Cinematographer - January 2016 - 62
American Cinematographer - January 2016 - 63
American Cinematographer - January 2016 - 64a
American Cinematographer - January 2016 - 64b
American Cinematographer - January 2016 - 64c
American Cinematographer - January 2016 - 64d
American Cinematographer - January 2016 - 64e
American Cinematographer - January 2016 - 64f
American Cinematographer - January 2016 - 64g
American Cinematographer - January 2016 - 64h
American Cinematographer - January 2016 - 64
American Cinematographer - January 2016 - 65
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American Cinematographer - January 2016 - 97
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American Cinematographer - January 2016 - Cover3
American Cinematographer - January 2016 - Cover4
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