The Nikola Tesla Award for Visionary Achievement in Filmmaking Technology was created to shine a spotlight on pioneers in the industry who not only have an impact on their peers, but whose life’s work will influence future generations and give rise to further innovation. For 40 years, ILM has set the standard for visual effects, creating some of the most stunning images in the history of film. Founded in 1975 by George Lucas, ILM is the leading effects facility in the world, serving the motion picture, commercial production and attraction industries.
ILM has played a key role in 6 of the top 10 worldwide box office hits of all time and has contributed to twenty-five of the top fifty. Walter Murch created the epoch-shaping Oscar-winning sound design of “Apocalypse Now,” and is among a rarified few who have won Oscars in different categories in the same year.  For “The English Patient,” he won Best Sound and Best Editing, among accolades from BAFTA. Six-Time Oscar® winner Rick Baker, legendary make-up effects artist, has thrilled audiences with his innovative creatures for years.
In 1976 Richard Donner directed the classic suspense thriller, “The Omen,” followed two years later by the definitive version of “Superman,” starring Christopher Reeve. Special effects master Stan Winston created the monstrous extraterrestrials of “Aliens,” the fanciful character of “Edward Scissorhands,” the astounding dinosaurs of “Jurassic Park” and the frightening “Terminator” among other achievements. Canadian-born entertainment industry icon James Cameron credits early exposure to Stanley Kubrick’s “2001: A Space Odyssey” as the creative catalyst that launched a truly remarkable and technologically innovative career in the movie business.
From “Star Wars” to the Indiana Jones chronicles, George Lucas continues to be instrumental in changing the viewer experiences and expectations of worldwide audiences. About the AwardIPA’s Tesla Award is named for Nikola Tesla (1856-1943), in honor of the man whose many discoveries and inventions continue to have a ripple effect on modern technology. The Tesla Award in Recognition of Visionary Achievements in Filmmaking Technology is designed by Dragan Radenovic, a world-renowned sculptor who has been commissioned by the Winston Churchill estate, won a UNESCO competition, and is in the private collections of Luciano Pavarotti, Kirk Douglas, Sophia Loren and Princess Grace of Monaco.. Ed has worked at the Papers since he was a graduate student at UVA in 1997, and is now currently the Director of the project. When asked what compels him most about history, he responded “I love all history, and have since I was a child. David Hoth did his undergraduate work at Dartmouth College, and then subsequently took courses at the University of Colorado at Denver to qualify for a secondary teaching certificate. David came to the Washington Papers after 14 years as an editor at The Papers of Andrew Jackson. Jennifer Stertzer attended Florida State University and Appalachian State University, where she studied both History and Geography, focusing on environmental and southern Appalachia histories during the Antebellum Period. Jennifer has been with the project for 15 years, and is currently a Senior Editor at the Washington Papers. William has worked continuously as a documentary editor since 1989, beginning with The Salmon P. As an Associate Editor for the Washington Papers, his principal editorial work has been on volumes in the Revolutionary War Series. Seeing how people faced challenges, achieved triumphs, and endured sadnesses has always fascinated him. Before the Papers, Ben worked twenty years as an officer in the United States Navy and Navy Reserve.
Today, he works as an Associate Editor for the Papers of George Washington, and as an Associate Professor for the University of Virginia.
Ben has a strong interest in the history of the Revolutionary War era and the founding fathers.
Before the Papers, Tom worked for various newspapers in a 16-year journalism career, followed by three years as Manager of Editorial Services for Kesmai Corporation, and then eight years as freelance writer and editor. Today, he is an Assistant Editor in which he acts as the publication manager and copy editor for the Washington Papers, as well as project liaison with the University Library System.
Before working at the Papers, Adrina was a post-doctoral associate and then Assistant Editor at the Papers of Benjamin Franklin. Adrina has always been interested in the American Enlightenment and eighteenth-century history. Before the Papers, Neal worked in documentary editing at the Digital Edition of the Papers of Eliza Lucas Pinckney and Harriott Pinckney Horry at the University of South Carolina where she divided her time between editing duties and teaching undergraduate courses in American history. When asked which era of history she would most like to visit, Neal responded that she would like to visit Mount Vernon during the period from 1797 to 1799 when George Washington was finally enjoying his long-awaited retirement. Before the Papers, Lynn held a two-year fellowship through the Papers of George Washington and Mount Vernon in which she transcribed and checked George Washington’s financial ledgers and his agricultural reports.
Today, she is the Assistant Editor of the new Family Papers project, for which, she adds, “means wearing many hats!” Some of her responsibilities include secondary source research, archival research, annotation writing, transcriptions, proofreading, and indexing.
When asked what compels her most about the Washington family, she responded that she is “fascinated by the perceptions of George and Martha Washington throughout history and how those interpretations reflect the society in which they were created.” If she could visit any time in history, however, she would attend the Constitutional Convention in Philadelphia, though she would at least try to smuggle in an electric fan!
In 2005 Alicia was introduced to documentary editing at Yale’s Papers of Benjamin Franklin.
In 2011 the John Dickinson Writings Project recruited her to transcribe a massive collection of largely unpublished manuscripts, many of them barely legible. In her current position, Alicia is focused on the preparation of a new and complete edition of George Washington’s Barbados diary, one of the earliest and most mutilated texts among his papers. Erica Cavanaugh is a graduate from the University of Virginia and the University of Wisconsin, Milwaukee.
Before working at the Washington Papers, Erica worked for the Dolley Madison Digital Edition – a digitally born documentary edition – and at the University of Virginia Press, helping with their digital publications. Her work at the Washington Papers primarily focuses on the digital publication of the George Washington Financial Papers, and the development and maintenance of other digital work. Caitlin Conley attended DePauw University, where she earned a Bachelor of Musical Arts in English Literature and Music with a specialty in cello. Last year, Caitlin worked at the Papers of George Washington as a Research Assistant, helping Bill Ferraro with research tasks, doing archival research for Ed Lengel’s upcoming biography on Henry Lee, and filming the video series “George’s Farm Animals” for educational outreach. When asked which time period she would visit, she responded that she would love to travel to Vienna in the early 1800’s just to hear Beethoven play piano.
Before the Papers, Kim worked for the University of Virginia’s Miller Center, Thomas Jefferson’s Monticello, and New Millennium Studios, a production studio in Petersburg, Virginia. Today, Kim works as a Research Editor for the Washington Papers, helping to locate documents for the Martha Washington Project, as well as managing the Washington Papers’ communication and outreach efforts. When asked what compels her most about history, Kim responded that she enjoys learning about how people, especially women, lived day-to-day.
Mary Wigge earned her undergraduate degrees in History and Art History at the University of Virginia.
While an undergraduate at UVa, Mary worked part-time for the Presidential Recordings Program, specifically the Presidential Recordings of Lyndon B.
Today, she is now a Research Editor for the Martha Washington Papers project, as well as for George Washington’s Barbados Diary. Today, she splits her time between Monticello and working as a Research Assistant for the Washington Papers, helping with transcribing, annotating, and accessioning documents. When asked what compels her most about history, she responded, “I believe in blurring the lines between the public and private spheres as completely separate historical categories. Elisa Shields was born in the United States, but spent most of her formative years in France. Now at the Washington Papers, Elisa works as a Research Assistant on the Washington Papers Digital Edition as well as on the George Washington Financial Papers project. Katie Lebert received her Bachelor’s degree from the University of Virginia, where she studied Anthropology and History, and developed in interest in the history of American culture and identity. As an undergraduate, Katie interned as an Associate Editor for the cultural magazine Gadfly Online, and as a communications intern for the Virginia Foundation for the Humanities (VFH). Today, Katie splits her time as the Communications Assistant for the Washington Papers and as the interning coordinator for the Virginia Shakespeare Initiative (VSI).
G+ #Read of the Day: The Daguerreotype - The daguerreotype, an early form of photograph, was invented by Louis Daguerre in the early 19th c. The first photograph (1826) - Joseph Niepce, a French inventor and pioneer in photography, is generally credited with producing the first photograph. Easy Peasy Fact:Following Niepcea€™s experiments, in 1829 Louis Daguerre stepped up to make some improvements on a novel idea. Adafruit: The oldest street scene photos of New York City - Check out these incredible (and incredibly old) photos of NYC, via Ephemeral New York.
The oldest street scene photos of New York CityCheck out these incredible (and incredibly old) photos of NYC, via Ephemeral New York.
I still remember reading about Louis Daguerre's invention, the daguerreotype, in high school.
The Making of the American Museum of Natural Historya€™s Wildlife DioramasFossil shark-jaw restoration, 1909.


Very old portrait of three men identified as (from left to right) Henry, George, and Stephen Childs, November 25, 1842. In 1840, Hippolyte Bayard, a pioneer of early photography, created an image called Self-Portrait as a Drowned Man. 10 Times History Was Captured in Living ColorColor photographs go back to before you might think. In 1993 he and his wife co-founded Petroglyph Ceramic Lounge, an "experiential" retail business that is centered on creativity-painting bisque ceramics-and it catalyzed a national phenomenon in "contemporary ceramics" studios. This video surfaced this weekend but the game featuring rapper The Game happened during this past Summer at the Drew League.
The Game is one member of the Money Gang team that plays in the Drew League and features an all-star roster that has included Chris Brown, Paul George, James Harden, John Wall, DeMar DeRozan, JR Smith, Metta World Peace, Darius Morris, Andrew Goudelock, Mike Efevberha and Kwame Alexander. Astramskas, David aka Astramskiss bka VincentDa fka Expiredpineapples & RedApples is a "digital-marketing guy" living in Houston. At the forefront of the digital revolution, ILM continues to break new ground in visual effects. Murch has a role in film history as part of George Lucas’s early film “THX 1138,” as designer of its sound montage. Harris has worked with legendary directors like David Lean on the restoration of films such as “Lawrence of Arabia,” and, as a film preservationist and renown film historian.
A master make-up artist and prosthetics inventor, Baker began his apprenticeship on “The Exorcist,” went on to films like “Star Wars,” Dino De Laurentiis’ “King Kong” to cult classic “An American Werewolf in London,” to “Men in Black,” and the B-List director biopic “Ed Wood.” In 2010 Rick Baker won his newest Oscar for “The Wolfman,” and continues to break barriers on creature effects.
With “Superman,” Donner raised the bar on the genre by insisting that the comic book superhero should be treated with authenticity and respect for the source material rather than as camp.
He won four Academy Awards and was nominated for 10, underscoring his groundbreaking contributions to cinema.
He was instrumental in introducing video-assist and video playback techniques, which have become industry standards.
From “The Abyss” to “Terminator” to “AVATAR,” Cameron has made his mark in stand-out effects and 3D lens innovations. His impact on the entertainment industry began with “American Graffiti” to can be seen in projects as diverse as “Willow” to the animated version of “Star Wars: The Clone Wars” for television.
This tradition is continued with the annual of presentation of this statue to an entertainment industry innovator. In that role, he manages the day to day operations of the project, including editorial work as well as publicity, outreach and fundraising. Oddly enough, though, I’ve always most been fascinated by the 1920s and 1930s because of the amazing clothes, literature, movies and music. Later, he completed his Masters work in American Studies at Bowling Green State University (Ohio) and did his Doctoral work in American Studies and History at Indiana University. In that role, she manages and edits the George Washington Financial Papers Project, is the managing editor of the Washington Papers Digital Editions, and is the Manager of Digital Programs at the Center for Digital Editing.
He also took the lead in reviewing and regularizing the short title list found on the Digital Edition resources page and creating spreadsheet authority files for names and places in the Revolutionary War and Presidential series. In his role as an editor, he focuses on the Revolutionary War Series, and is Co-editor of the Papers of George Washington Addendum Volume with Adrina Garbooshian-Huggins.
He has always admired George Washington, as well as has always had a strong interest in all eras of European and United States history.
Prior to her current roles as an editor for the Revolutionary War volumes and as a co-editor on the Papers of George Washington Addendum Volume with Benjamin Huggins, she helped with the indexing of volumes as well as with the cumulative index. She enjoys working on documents pertaining to Mount Vernon as well as on George Washington’s interest in agriculture, the Revolutionary War, and more. Following that, she was a National Historical Publications and Records Commission (NHPRC) Fellow in Historical Documentary Editing with the Adams Family Papers at the Massachusetts Historical Society (MHS). She is currently editing the final volume of the Presidential series, which covers the period from October 1796 to 3 March 1797. She adds that “he had so many visitors during those years that one more would not make a difference!” Neal would like to hear George reflect on his life, and though she does not know whether he would have been very candid with her, she thinks it would be interesting to hear any reminiscences he was willing to share. Following that, Lynn joined the Papers, working for three years on the George Washington Bibliography Project. During her five-year tenure with the project, she specialized in 18th-century handwriting analysis and transcription and also conducted extensive historical research, wrote and reviewed annotation, and assisted with overall copyediting and proofreading. As the project’s chief transcriber for the next four years, she not only decoded Dickinson’s heavily edited drafts and unique system of legal shorthand but also helped develop the project’s textual methodology. She looks forward to joining her colleagues on the Martha Washington and Washington Family editions, as well. She also worked for the Sciences, Humanities, & Arts Network of Technological Initiatives (SHANTI) as a technical writer.
She is currently conducting the search for Martha Washington’s documents that have appeared in print sources, including newspapers, biographies, auction catalogues, and documentary editions. She would also want to visit Martha at Mount Vernon to ask her how she baked her Great Cake. Her thesis in the art history program focused specifically on mid- nineteenth-century photography. In that role, she catalogs, transcribes, researches, and begins identifying content from the manuscript documents. She returned to the United States to attend Knox College, a small liberal arts school from which she graduated in 2014 with a Bachelor’s degree in History and Art History. From there, she decided to pursue history through a social lens, focusing especially but not exclusively on modern European history, early American history, and Native American history.
In her role at the Papers, she helps to develop the social media and general outreach efforts of the project. Talbot was active from the mid-1830s, and sits alongside Louis Daguerre as one of the fathers of the medium. Niepcea€™s photograph shows a view from the Window at Le Gras, and it only took eight hours of exposure time!The history of photography has roots in remote antiquity with the discovery of the principle of the camera obscura and the observation that some substances are visibly altered by exposure to light. Again employing the use of solvents and metal plates as a canvas, Daguerre utilized a combination of silver and iodine to make a surface more sensitive to light, thereby taking less time to develop.
Half of the Limburg province of Belgium is added to the Netherlands, giving rise to a Belgian Limburg and Dutch Limburg (the latter being from September 5 joined to the German Confederation).June 3 a€“ Destruction of opium at Humen begins, casus belli for Britain to open the 3-year First Opium War against Qing dynasty China. Bayard had just perfected the process of printing on to paper, which would come to define photography in the following century, but the French government had decided to invest instead in the daguerrotype, a process invented by his rival, Louis Daguerre. After graduating from Brown University with a degree in neuroscience, he began his career at Lucasfilm's Droid Works. In 1999, with the release of Apple's Final Cut Pro, Rubin returned to editing tools, but solely focused on consumer education.
Worked with the NBA, Sprite, 2K, cool people like LeBron, DWade and Robert Horry, a long list of not-so-cool people and few real s****ty people. Uniquely suited for the Tesla Award, he is currently editing “Particle Fever,” a feature documentary on CERN’s Large Hadron Collider and the search for the Higgs boson. Lucas received the first Tesla Award for a lifetime of visionary filmmaking achievement and his privately held company, LucasFilm, continues to expand frontiers in the cinematic arts. He is now responsible for indexing letterpress volumes in both active series and assists the project director with financial oversight and grant proposals.
In 2012 and early 2013, she contracted with the Papers of George Washington to transcribe and translate French documents.
After the fellowship ended, Neal stayed on at the MHS, working primarily on the Adams Family Correspondence series but also assisting with the Papers of John Adams series and the Diary and Autobiographical Writings of Louisa Catherine Adams.
As she is currently headquartered at the Washington Library at Mount Vernon, her responsibilities also include assisting the library staff and patrons with various tasks, projects and research questions.
Also, she would like to see how he interacted on a day-to-day basis with Martha, especially as historians know less about their relationship than other founding couples. When asked what compels her most about history, she responded that engaging with manuscripts and other primary sources is a passion.
In her Master’s studies Caitlin focused on textual criticism and nineteenth-century American literature. She helped design SHANTI’s pioneering Knowledge Base, a resource that provides step-by-step instructions on using digital tools. After graduating, Mary served as development assistant at the Thomas Jefferson Foundation’s Monticello. In addition to those responsibilities, she also searches for books and other relevant resources that would be useful in preparing in-depth annotation. Though he is most famous for his contributions to photography, he was also an accomplished painter and a developer of the diorama theatre.


As far as is known, nobody thought of bringing these two phenomena together to capture camera images in permanent form until around 1800, when Thomas Wedgwood made the first reliably documented although unsuccessful attempt.
It didna€™t take long for others to seize the new technology and create daguerreotypes of New York City street scenes. Daguerreotypes are sharply defined, highly reflective, one-of-a-kind photographs on silver-coated copper plates, usually packaged behind glass and kept in protective cases. From 1985-1994 he designed editing equipment and edited feature films and television shows in Hollywood.
Between 1999 and 2004 Rubin wrote four books on digital video, designed an online curriculum for Columbia University and the American Film Institute, and on occasion consulted for Sony and Apple regarding video literacy. Won editing awards, created websites that have been featured in mags like Sports Illustrated. Katz, has revitalized many modern classics from some of Hollywood’s legendary auteurs including Stanley Kubrick, with historical epic “Spartacus,” George Cukor’s beloved musical adaption “My Fair Lady,” and two of Alfred Hitchcock’s acclaimed masterpieces “Rear Window” and “Vertigo.” He is also a producer who, with Martin Scorsese, helped bring Stephen Frears’ “The Grifters” to the screen. Currently, Lynn is ABD at George Mason University, with a focus on the era of the American Revolution and the early republic. While with the Papers, she also attended the NHPRC’s Institute for Documentary Editing (affectionately known as “Camp Edit”). For her thesis, advised by Professor David Vander Meulen, she constructed a critical edition of Helen Hunt Jackson’s novel Ramona by collating the manuscript, serialized edition, and first edition.
A daguerreotype, produced on a silver-plated copper sheet, produces a mirror image photograph of the exposed scene. The Government, which has been only too generous to Monsieur Daguerre, has said it can do nothing for Monsieur Bayard, and the poor wretch has drowned himself. Since then, Rubin has lectured internationally, from Montreux to Beijing, and has published a number of texts on editing for professionals as well as consumers, including Nonlinear (presently in its 4th edition). Grant at Southern Illinois University Carbondale (1992-2006) before coming to The Washington Papers at the University of Virginia in June 2006.
Though her degrees are in French, her doctoral dissertation focused on the French, American, and British Enlightenments. Her dissertation, currently in progress, is titled “To enjoy the blessings of freedom”: Slavery, Manumission, and Colonization in the District of Columbia (1790-1830). Chemistry student Robert Cornelius was so fascinated by the chemical process involved in Daguerrea€™s work that he sought to make some improvements himself. His specialization was modern European history with a focus on modern British history, and he completed his doctoral work with a dissertation on the Irish Potato Famine.
His emphases while at Georgetown and Brown was politics, the legislative process, and the development of communities in changing economic, technological, and cultural contexts. It was commercially introduced in 1839, a date generally accepted as the birth year of practical photography.The metal-based daguerreotype process soon had some competition from the paper-based calotype negative and salt print processes invented by Henry Fox Talbot. And in 1839 Cornelius shot a self-portrait daguerrotype that some historians believe was the first modern photograph of a man ever produced. For over two weeks in the summer of 2002, scientists and conservators at this prestigious facility subjected the artifact, its frame, and support materials to extensive and rigorous non-destructive testing. The result was a very complete scientific and technical analysis of the object, which in turn provided better criteria for its secure and permanent case design and presentation in the lobby of the newly-renovated Harry Ransom Center.The plate also received extensive attention from the photographic technicians at the Institute, who spent a day and a half with the original heliograph in their photographic studios in order to record photographically and digitally all aspects of the plate. The object was documented under all manner of scientific lights, including infrared and ultraviolet spectra. Long before the first photographs were made, Chinese philosopher Mo Ti and Greek mathematicians Aristotle and Euclid described a pinhole camera in the 5th and 4th centuries BCE. In the 6th century CE, Byzantine mathematician Anthemius of Tralles used a type of camera obscura in his experimentsIbn al-Haytham (Alhazen) (965 in Basra a€“ c. Wilhelm Homberg described how light darkened some chemicals (photochemical effect) in 1694. The novel Giphantie (by the French Tiphaigne de la Roche, 1729a€“74) described what could be interpreted as photography.Around the year 1800, Thomas Wedgwood made the first known attempt to capture the image in a camera obscura by means of a light-sensitive substance. As with the bitumen process, the result appeared as a positive when it was suitably lit and viewed. A strong hot solution of common salt served to stabilize or fix the image by removing the remaining silver iodide. On 7 January 1839, this first complete practical photographic process was announced at a meeting of the French Academy of Sciences, and the news quickly spread.
At first, all details of the process were withheld and specimens were shown only at Daguerre's studio, under his close supervision, to Academy members and other distinguished guests. Paper with a coating of silver iodide was exposed in the camera and developed into a translucent negative image.
Unlike a daguerreotype, which could only be copied by rephotographing it with a camera, a calotype negative could be used to make a large number of positive prints by simple contact printing.
The calotype had yet another distinction compared to other early photographic processes, in that the finished product lacked fine clarity due to its translucent paper negative.
This was seen as a positive attribute for portraits because it softened the appearance of the human face. Talbot patented this process,[20] which greatly limited its adoption, and spent many years pressing lawsuits against alleged infringers. He attempted to enforce a very broad interpretation of his patent, earning himself the ill will of photographers who were using the related glass-based processes later introduced by other inventors, but he was eventually defeated. Nonetheless, Talbot's developed-out silver halide negative process is the basic technology used by chemical film cameras today. Hippolyte Bayard had also developed a method of photography but delayed announcing it, and so was not recognized as its inventor.In 1839, John Herschel made the first glass negative, but his process was difficult to reproduce.
The new formula was sold by the Platinotype Company in London as Sulpho-Pyrogallol Developer.Nineteenth-century experimentation with photographic processes frequently became proprietary. This adaptation influenced the design of cameras for decades and is still found in use today in some professional cameras. Petersburg, Russia studio Levitsky would first propose the idea to artificially light subjects in a studio setting using electric lighting along with daylight.
In 1884 George Eastman, of Rochester, New York, developed dry gel on paper, or film, to replace the photographic plate so that a photographer no longer needed to carry boxes of plates and toxic chemicals around. Now anyone could take a photograph and leave the complex parts of the process to others, and photography became available for the mass-market in 1901 with the introduction of the Kodak Brownie.A practical means of color photography was sought from the very beginning.
Results were demonstrated by Edmond Becquerel as early as 1848, but exposures lasting for hours or days were required and the captured colors were so light-sensitive they would only bear very brief inspection in dim light.The first durable color photograph was a set of three black-and-white photographs taken through red, green and blue color filters and shown superimposed by using three projectors with similar filters.
It was taken by Thomas Sutton in 1861 for use in a lecture by the Scottish physicist James Clerk Maxwell, who had proposed the method in 1855.[27] The photographic emulsions then in use were insensitive to most of the spectrum, so the result was very imperfect and the demonstration was soon forgotten. Maxwell's method is now most widely known through the early 20th century work of Sergei Prokudin-Gorskii. Included were methods for viewing a set of three color-filtered black-and-white photographs in color without having to project them, and for using them to make full-color prints on paper.[28]The first widely used method of color photography was the Autochrome plate, commercially introduced in 1907. If the individual filter elements were small enough, the three primary colors would blend together in the eye and produce the same additive color synthesis as the filtered projection of three separate photographs.
Autochrome plates had an integral mosaic filter layer composed of millions of dyed potato starch grains.
Reversal processing was used to develop each plate into a transparent positive that could be viewed directly or projected with an ordinary projector.
The mosaic filter layer absorbed about 90 percent of the light passing through, so a long exposure was required and a bright projection or viewing light was desirable. Competing screen plate products soon appeared and film-based versions were eventually made. A complex processing operation produced complementary cyan, magenta and yellow dye images in those layers, resulting in a subtractive color image. Kirsch at the National Institute of Standards and Technology developed a binary digital version of an existing technology, the wirephoto drum scanner, so that alphanumeric characters, diagrams, photographs and other graphics could be transferred into digital computer memory.
The lab was working on the Picturephone and on the development of semiconductor bubble memory.
The essence of the design was the ability to transfer charge along the surface of a semiconductor.
Michael Tompsett from Bell Labs however, who discovered that the CCD could be used as an imaging sensor.



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