American Cinematographer - May 2013 - 74

◗

Star Tech

Bill Taylor, ASC holds his John A. Bonner Medal of Commendation.

for the creation of the Katana
computer-graphics scene-management
and lighting software at Sony Pictures
Imageworks. “Katana’s design, featuring
a deferred evaluation procedural node
graph, provides a highly efficient lighting and rendering workflow. It allows
artists to non-destructively edit scenes
too complex to fit into computer
memory at scales ranging from a single
object up to an entire city.”
A Scientific and Engineering
Plaque was presented to Philip
McLauchlan, Allan Jaenicke, JohnPaul Smith and Ross Shain for the
creation of the Mocha planar-tracking
and rotoscoping software at Imagineer
Systems Ltd. “Mocha provides robust
planar tracking even when there are no
clearly defined points in the image. Its
effectiveness, ease of use, and ability to
exchange rotoscoping data with other
image-processing tools have resulted in
widespread adoption of the software in
the visual-effects industry.”
A Scientific and Engineering
Plaque was presented to Joe Murtha,
William Frederick and Jim Markland
of Anton/Bauer, Inc., for the design and
creation of the Cine VCLX Portable
74

May 2013

Power System, which “provides
extended run times and flexibility, allowing users to power cameras and other
supplementary equipment required for
production.”

Act Three
The John A. Bonner Medal of
Commendation was presented to
visual-effects supervisor/cinematographer Bill Taylor, ASC, in appreciation
for outstanding service and dedication
in upholding the standards of AMPAS.
Taylor got his start in entertainment
through a love of stage magic, but it
wasn’t until he saw Ray Harryhausen’s
Jason and the Argonauts as a college
student that he began to pursue a career
in film magic.
Taylor started studying specialeffects films, learned the names in the
credits and then reached out to select
individuals. His list included Linwood
G. Dunn, ASC, whom he cold-called
one day. The call sparked a friendship.
Following Dunn’s advice, Taylor got
“any job he could” and landed a position
with the Ray Mercer Co., a Hollywood
staple in the optical-printing and title
American Cinematographer

field. “That was a great film school,”
Taylor attests. “I worked there for 10 or
11 years. I started out doing optical lineup work and part-time delivery. I got
into the Film Technicians Union and,
eventually, as I moved into shooting
opticals, into the camera local. Later, I
got my first freelance visual-effects gig
on a film shot in Brazil. I left Mercer
with regrets.
“During my years of freelancing,
I got to work with so many wonderful
people like Lin Dunn, great guys with
ASC after their names,” he continues.
“The first optical-composite work I did
for Lin was the famous pea-soup
vomiting scene in The Exorcist. We
superimposed a stream of pea soup
being shot out of a large syringe and
tracked that over Linda Blair’s mouth.”
Early in his career, Taylor had
also cold-called ASC associate member
Albert Whitlock after spotting his
name in the credits of That Funny
Feeling. “We had a great conversation
and became social friends,” he recalls.
When Whitlock’s cameraman, Ross
Hoffman, ASC, retired in 1974,
Whitlock invited Taylor to fill the
vacancy. His first project with Whitlock
was The Hindenburg, which won the
Oscar for visual effects.
Taylor and Syd Dutton cofounded Illusion Arts, a visual-effects
company whose credits include Blood
Diamond, Milk and Bruce Almighty. In
1981, Taylor was recognized with an
AMPAS Technical Achievement
Award “for the concept and specifications behind a two-format rotatinghead aerial-image optical printer.”
Taylor joined AMPAS in 1972
and has served five terms on its Board of
Governors, representing the VisualEffects Branch. He was a founding cochair of the Academy’s Science and
Technology Council. This year, he
received a Visual Effects Society
Fellowship.

Act Four
The final award of the evening,
the Academy Award of Merit statuette,



American Cinematographer - May 2013

Table of Contents for the Digital Edition of American Cinematographer - May 2013

American Cinematographer - May 2013
Contents
Editor’s Note
President’s Desk
Short Takes: “Suit & Tie”
Production Slate: Trance • The Reluctant Fundamentalist
Surviving the Future
A Trailblazer’s Tale
Conjuring Hope
The ABCs of DMX
Star Tech
Hot Shots
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Paul Maibaum
American Cinematographer - May 2013 - American Cinematographer - May 2013
American Cinematographer - May 2013 - Cover2
American Cinematographer - May 2013 - 1
American Cinematographer - May 2013 - 2
American Cinematographer - May 2013 - Contents
American Cinematographer - May 2013 - 4
American Cinematographer - May 2013 - 5
American Cinematographer - May 2013 - 6
American Cinematographer - May 2013 - 7
American Cinematographer - May 2013 - 8
American Cinematographer - May 2013 - 9
American Cinematographer - May 2013 - Editor’s Note
American Cinematographer - May 2013 - 11
American Cinematographer - May 2013 - President’s Desk
American Cinematographer - May 2013 - 13
American Cinematographer - May 2013 - Short Takes: “Suit & Tie”
American Cinematographer - May 2013 - 15
American Cinematographer - May 2013 - 16
American Cinematographer - May 2013 - 17
American Cinematographer - May 2013 - 18
American Cinematographer - May 2013 - 19
American Cinematographer - May 2013 - Production Slate: Trance • The Reluctant Fundamentalist
American Cinematographer - May 2013 - 21
American Cinematographer - May 2013 - 22
American Cinematographer - May 2013 - 23
American Cinematographer - May 2013 - 24
American Cinematographer - May 2013 - 25
American Cinematographer - May 2013 - 26
American Cinematographer - May 2013 - 27
American Cinematographer - May 2013 - 28
American Cinematographer - May 2013 - 29
American Cinematographer - May 2013 - 30
American Cinematographer - May 2013 - 31
American Cinematographer - May 2013 - 32
American Cinematographer - May 2013 - 33
American Cinematographer - May 2013 - Surviving the Future
American Cinematographer - May 2013 - 35
American Cinematographer - May 2013 - 36
American Cinematographer - May 2013 - 37
American Cinematographer - May 2013 - 38
American Cinematographer - May 2013 - 39
American Cinematographer - May 2013 - 40
American Cinematographer - May 2013 - 41
American Cinematographer - May 2013 - 42
American Cinematographer - May 2013 - 43
American Cinematographer - May 2013 - 44
American Cinematographer - May 2013 - 45
American Cinematographer - May 2013 - 46
American Cinematographer - May 2013 - 47
American Cinematographer - May 2013 - A Trailblazer’s Tale
American Cinematographer - May 2013 - 49
American Cinematographer - May 2013 - 50
American Cinematographer - May 2013 - 51
American Cinematographer - May 2013 - 52
American Cinematographer - May 2013 - 53
American Cinematographer - May 2013 - 54
American Cinematographer - May 2013 - 55
American Cinematographer - May 2013 - Conjuring Hope
American Cinematographer - May 2013 - 57
American Cinematographer - May 2013 - 58
American Cinematographer - May 2013 - 59
American Cinematographer - May 2013 - 60
American Cinematographer - May 2013 - 61
American Cinematographer - May 2013 - 62
American Cinematographer - May 2013 - 63
American Cinematographer - May 2013 - 64
American Cinematographer - May 2013 - 65
American Cinematographer - May 2013 - The ABCs of DMX
American Cinematographer - May 2013 - 67
American Cinematographer - May 2013 - 68
American Cinematographer - May 2013 - 69
American Cinematographer - May 2013 - 70
American Cinematographer - May 2013 - 71
American Cinematographer - May 2013 - Star Tech
American Cinematographer - May 2013 - 73
American Cinematographer - May 2013 - 74
American Cinematographer - May 2013 - 75
American Cinematographer - May 2013 - 76
American Cinematographer - May 2013 - Hot Shots
American Cinematographer - May 2013 - 78
American Cinematographer - May 2013 - 79
American Cinematographer - May 2013 - 80
American Cinematographer - May 2013 - 81
American Cinematographer - May 2013 - 82
American Cinematographer - May 2013 - 83
American Cinematographer - May 2013 - 84
American Cinematographer - May 2013 - 85
American Cinematographer - May 2013 - 86
American Cinematographer - May 2013 - 87
American Cinematographer - May 2013 - 88
American Cinematographer - May 2013 - 89
American Cinematographer - May 2013 - New Products & Services
American Cinematographer - May 2013 - 91
American Cinematographer - May 2013 - 92
American Cinematographer - May 2013 - 93
American Cinematographer - May 2013 - International Marketplace
American Cinematographer - May 2013 - Classified Ads
American Cinematographer - May 2013 - Ad Index
American Cinematographer - May 2013 - 97
American Cinematographer - May 2013 - Clubhouse News
American Cinematographer - May 2013 - 99
American Cinematographer - May 2013 - ASC Close-Up: Paul Maibaum
American Cinematographer - May 2013 - Cover3
American Cinematographer - May 2013 - Cover4
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