<img height="1" width="1" src="https://www.facebook.com/tr?id=414634002484912&amp;ev=PageView &amp;noscript=1">
Get Started
2021 Society Elections for Officers and Governors
Get Started

    The Journal Certificate of Merit

    2021 - Tested Perceptual Difference Between UHD -1/4 K and UHD-2/8K,
    published in the July 2020 issue of the Motion Imaging Journal, Volume 129, Issue 6

    Michael Zink

    As Vice President of Technology at Warner Bros., Michael Zink is responsible for exploring emerging technologies to enhance WB’s capabilities for production, post-production, and distribution. This includes assessing new technologies; and assisting with the setup and integration of digital workflows. Michael also participates in a number of standards associations such as CTA, DCI, SMPTE, among others; and also serves as Chairman for the UHD Alliance. Prior to joining Warner Bros. in 2014, Michael worked at Technicolor for over 10 years, most recently as Vice President of Technology Strategy, where he was responsible for launching the production efforts around various new optical disc formats. Additionally, Michael was responsible for the promotion and adoption of Technicolor technology solutions within industry groups. Earlier in his career, he worked for several media production facilities in

    Aansh Malik

    Aansh Malik is an AI Engineer in the Emerging and Creative Technologies Group at WarnerMedia. His work focuses on leveraging advancements in AI to enable more interactive storytelling, facilitate experiences in immersive mediums such as AR/VR, as well as augmenting current workflows in the media production lifecycle. His projects are a confluence of fields including conversational AI, computer vision, recurrent neural networks for audio processing among others. He received a B.S degree in Electrical Engineering with a specialization in Machine Learning from UCSD. 

    Michael D. Smith

    Michael D. Smith has worked as a digital imaging and intellectual property consultant since 2003. He has worked on projects for many organizations including Warner Bros., Sony Pictures Entertainment, DCI, NOAA, Dolby, and DTS. He was co-editor of the JPEG 2000 High-Throughput image compression standard that published in 2019. In 2018, he received a screen credit for his color science work on Mary Poppins Returns. From 2013-2015, he was co-chair of Blu-ray Disc Association's UHD-TF Video Subgroup which defined the video-related requirements for the Ultra HD Blu-ray disc format.  
     
    Michael's work on more than 40 intellectual property matters related to infringement and validity of patents has resulted in payments of approximately $1.7 billion. He was editor of the book "3D Cinema and Television Technology: The First 100 Years" published by SMPTE in 2011 and achieved SMPTE Fellow in 2019. He received the B.S. and M.S. degrees in Electrical Engineering from UCLA in 2001 and 2004 respectively. 
     

    2020
    • Award not given
    2019 
    • Kazuyuki Arai  
    • Yoshiro Takiguchi 
    •  Kenichiro Masaoka, Kazuyuki Arai, and Yoshiro Takiguchi for the article "Realtime Measurement of Ultrahigh-Definition Camera Modulation Transfer Function," published in the November/December 2018 issue of the Motion Imaging Journal: Volume: 127 Issue: 10 
    2018
    • Jaclyn Pytlarz, Elizabeth Pieri, and Robin Atkins for the article, "Objectively Evaluating High-Dynamic-Range and Wide-Color-Gamut  Color Differences," March 2017.
    • Nikolaus Kero, Thomas Kernen, and Tobias Muller, for the article, "Efficient Monitoring of ST 2059-2 Based Time Transfer  Performance," May/June 2017.
    2017
    • Katy C. Noland, for the article, “High Frame Rate Television: Sampling Theory, the Human Visual System, and Why the Nyquist–Shannon Theorem Does Not Apply,” April 2016.
    •  David Long and Mark D. Fairchild, for the article, “Observer Metamerism Models and Multiprimary Display Systems,” April 2016.
    2016 
    • Charles Poynton, Jeroen Stessen, and Rutger Nijland, for the article, “Deploying Wide Color Gamut and High Dynamic Range in HD  and UHD,” April 2016.
    • Larry Thorpe, Fumiaki Usui, and Ryuhei Kamata, for the article, “Lens Considerations for Digital Cinematography,” January/February 2016.
     2015
    • Jürgen Burghardt, Jörg Houpert, and Timo Meyer, for the article “Increased Value of Video Assets: New Technologies for the Automatic Transfer and Digital Preservation of Analog Videocassettes,” January/February 2014.
    •  Joachim Keinert, Michael Schöberl, Matthias Ziegler, Frederik Zilly, and Siegfried Foessel, for the article “High-Dynamic Range Video Cameras  Based on Single Shot Non-Regular Sampling,” November/December 2014.
    2014
    • Benjamin Bross, Heiko Schwarz, and Detlev Marpe, for the article, "The New High-Efficiency Video Coding Standard,” May/June 2013.
    2013 
    • Brian Long, Roger Schwenke, Ph.D., Peter Soper, and Glenn Leembruggen, for the article, "Further Investigations Into the Interactions Between Cinema Loudspeakers and Screens," Nov/Dec 2012.
    • Martin S. Banks, Dr. Jenny C. A. Read, Robert Allison, and Dr. Simon J. Watt, for the article, "Stereoscopy and the Human Visual System,"  May/June 2012.
    2012
    • Mihailo Stojancic and Dan Eakins for the article, "Interoperable AV Sync Systems in the SMPTE 22TV Lip Sync AHG: Content-Fingerprinting-Based  Audio-Video Synchronization," July/August 2011.
    •  Carlos Vázquez, Ph.D. and Dr. Wa James Tam, for the article, "A Nonconventional Approach to the Conversion of 2D Video and Film Content to  Stereoscopic 3D" May/June 2011.
    2011 
    • Sean McCarthy, Ph.D, for the article, "A Biological Framework for Perceptual Video Processing and Compression" Nov/Dec 2010.
    • David Wood, for the article, "Understanding Stereoscopic Television and Its Challenges" October 2010.
    2010
    • Karl E. Paulsen, Michael E. Walter, Keith Ian Graham, and Randall Hoffner for their article, “Considerations in Physical Infrastructures  for 3 Gbit/sec Systems Design,” May/June 2009.      
    • Akira Nakagawa, for the article, “The 4:2:2/4:2:0 Perfect Reconstruction Filter Set and its Application in HD-SNG,” July/August 2009.
    2009
    • Laurence J. Thorpe, Yasuyuki Tomita, and Ken Ito for the paper, “Auto-Focus System for HDTV Field Lenses,” March 2008.
    • Nestor M. Rodriguez and Richard B. Wheeler, for the paper, “Integrated Calibration and Management of Color, Tone, and Image Structure     in a Digital Intermediate System,”   October 2008.
    2008
    • Tomlinson Holman, “Cinema Electro-Acoustic Quality Redux” May/June 2007.
    • Paul W. Jones, “Efficient JPEG 2000 VBR Compression with True Constant Perceived Quality” July/August 2007.
    • Thomas O. Maier, “Color Processing for Digital Cinema” (Parts 1 through 6), October 2007, November/December 2007,  January/February 2008, May/June 2008.
    2007 
    • David L. Long and Thomas O. Maier, “Designing Camera Origination Films for Scan-Only Applications in Television and Digital  Intermediate,” April 2006.
    2006 
    • Hiroshi Shimamoto, Takayuki Yamashita, Noriyuki Koga, Kohji Mitani, Masayuki Sugawara, Fumio Okano, Masato Matsuoka, Jiro Shimura, Isao
    • Yamamoto, Taku Tsukamoto, and Satoshi Yahagi, “An 8k x 4k Ultrahigh-Definition Color Video Camera with 8M-Pixel CMOS Imager,” July/August 2005.
    • Hideaki Mita, Haruo Ohta, Hideki Ohtaka, Tatsushi Bannai, Tsutomu Tanaka, and Phil Livingston, “A New Solid-State Memory-Based Television Acquisition System,” July/August 2005.
    2005
    • Jean-Pierre Vitton, Steven M. Gerlach, Marian Herz, Susan D. Hill and Alan J. Masson, “Influence of Image Spread on Sound Film Performance,” May/June 2004.
    2004  
    • Award not given
    2003
    • Leonard J. Reder and Michael Farris, "A Tour up the Gray Scale Vector of the RGB Color Cube: How Computer Graphics Color Spaces Relate  to Digital Video Color Difference Space," July/August 2002.
    • David Bancroft, "A Very High Bit Rate Data Recorder," October 2002.
    2002
    • Award not given
    2001
    • Charles Fenimore, Stephen Wolf, and John Libert, "Perceptual Effects of Noise in Digital Video Compression," March 2000.
    •  Laurence J. Thorpe, "Technical Aspects of the New World of Multiformat DTV Embodying Progressive, Interlaced, and Segmented Frame Video Format," Sept. 2000.
    2000
    •   Award not given.
    1999
    •  Al Kovalick, "Referencing Architecture for Digital Video/Audio Transfer and Streaming," August, 1998.
    1998
    •  David K. Fibush, "Aspects of Testing in Modern Television Systems," July 1997.
    1997
    •  Massimo Visca and Murizio Ardito, "Correlation Between Objective and Subjective Measurements for Video Compressed Systems," Dec. 1996
    •  Katsunori Aoki, Eisuke Nakasu, Ryoichi Yajima, Yasuaki Konatsugu, and Keiichi Kubota, "A Statistical Analysis of MPEG-2 Picture Quality for Television Broadcasting," Nov. 1996.
    1996
    •   Randy Conrod, Michel Proulx, and David Strachan, "Digital Video Series," a series of tutorials published in 1995.
    1995
    •  Tomlinson Holman, "Motion Picture System Performance: New Studies of the B-Chain," Mar. 1994.
    1994
    •  Laurence J. Thorpe, "HDTV and Film - Digitization and Dynamic Range," June 1993.
    •  Arnold M. Lund, "Influence of Image Size and Resolution on Viewing Distance," May 1993.
    1993
    •  Kenneth A. Parulski, C. Bradley Hunt, and LeRoy E. DeMarsh, "Source-Adaptive Encoding Options for HDTV and NTSC," Oct. 1992.
    1992
    •  Bob Elkind and David Fibush, "Proposal for Error Detection and Handling in Digital Studio Equipment," Dec. 1991.
    •  L. E. DeMarsh, "HDTV Colorimetry," (a summary of the activities of the SMPTE Ad Hoc Group on HDTV Production Colorimetry) Oct. 1991.
    1991
    • Syd Wiles, Frederick Gasoi, and Ed Zwaneveld, "Digital Optical Sound on 35mm Motion Picture Film," Nov. 1990.
    •  N. Egami, T. Yamagishi, S. Okazaki, K. Tanioka, M. Kurashige, K. Oku, and S. Ehata, "High-Sensitivity HDTV Camera Tube with a HARP Target,"  Sept. 1990.