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MTS24 Call for Papers Deadline May 30

The Journal Award Recipients

2023 - Hue-Preserving Color Transforms for LED Wall Virtual Production Workflows, in SMPTE Motion Imaging Journal, vol. 131, no. 10, pp. 38-44, November/December 2022​


Michael D. Smith

Michael D. Smith has worked as a digital imaging and intellectual property consultant for 20 years. 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 High-Throughput JPEG 2000 image compression standard that was 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. In 2012, Mr. Smith’s work on Warner Bros. Digital End to End (DETE) system led to winning a Technical Emmy. 

In addition to novel technology achievements, Mr. Smith has done extensive work in intellectual property. His work on more than forty IP matters related to infringement and validity of patents has resulted in settlements and judgements of approximately $1.7 billion. 

Mr. Smith 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. 

Michael Zink

As Vice President of Emerging & Creative Technologies at Warner Bros. Discovery (WBD), Michael Zink is responsible for exploring emerging technologies to enhance WBD’s storytelling capabilities across different platforms. This includes assessing the latest technologies, developing innovative experiences, and integrating new solutions into creative production workflows. Michael also participates in several industry associations; serves as President & Chairman for the UHD Alliance and Education Vice President for SMPTE. 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 distribution formats, and adoption of Technicolor technology solutions within industry groups. Earlier in his career, he worked for several media production facilities in Germany.

2022 - Michael D. Smith and Thomas G. Edwards, "High Throughput JPEG 2000 for Broadcast and IP-Based Applications," May 2021

2021 - Anustup Choudhury, Scott Daly and Jacklyn Pytlarz, "HDR and WCG Image Quality Assessment Using Color Difference Metrics," October 2020

2020 – Julien Le Tanou and Médéric Blestel, "Analysis of Emerging Video Codecs: Coding Tools, Compression Efficiency, and Complexity,"  November/December 2019

2019 - Elizabeth Pieri and Jaclyn Pytlarz,  "Hitting the Mark—A New Color Difference Metric for HDR and WCG Imagery," April 2018

2018 - Sean T. McCarthy,  "A Biologically Inspired Approach to Making HDR Video Quality Assessment Easier," May/June 2017.

2017 – Sean T. McCarthy, “How Independent Are HDR, WCG, and HFR in Human Visual Perception and the Creative Process?” May/June 2016.

2016 – Thomas Edwards, “Source-Timed SDN Video Switching of Packetized Video,” May/June 2015.

2015 – John Hudson and Edward Frlan, “Toward A Hierarchy of SDI Data Rates,” April 2014.

2014 – Andrew B. Watson, “High Frame Rates and Human Vision: A View Through the Window of Visibility,”  March 2013.

2013 – Wayne E. Bretl, "Theoretical and Practical Limits to Wide Color Gamut Imaging in Objects, Reproducers, and Cameras," May/June 2012.

2012 – Pascal Carrières, Sara J. Kudrle, Marco Lopez, and Michel Proulx, "Fingerprinting for Solving A/V Synchronization Issues within Broadcast Environments" July/August 2011.
2011 – Regunathan Radhakrishnan and Kent B. Terry, “Detection and Correction of Lip-Sync Errors Using Audio and Video Fingerprints" April 2010.
2010 – Nigel Seth-Smith, Gareth M. Heywood, and Ryan Latchman, “11.88 Gbits/sec: Continuing the Evolution of Serial Digital Interface,” May/June 2009.
2009 – Hans Kiening, for the paper “4K+ Systems: Theory Basics for Motion Picture Imaging.”  April 2008

2007—Gabriel Fielding, Ryan T. Hsu, Paul W. Jones, & Christopher L. DuMont for the paper, “Aliasing and Reconstruction Distortion in Digital Intermediates,” April 2006.

2006—Fumiaki Usui, Jun Hosoya, Ken Ito, and Laurence Thorpe, “A New HD Digital Cine Zoom Lens for Digital Motion Pictures,” October/November 2005.

2005Matthew Cowan, Glenn Kennel, Thomas Maier, and Brad Walker, “Contrast Sensitivity Experiment to Determine the Bit Depth for Digital Cinema,” September 2004.

2004Roger R. A. Morton, Michelle A. Maurer, and Christopher L. Dumont, “An Introduction to Aliasing and Sharpening in Digital Motion Picture Systems May/June 2003, and “Relationships between Pixel Count, Aliasing, and Limiting Resolution in Digital Motion Picture Systems,” July/August 2003.

2003Roger R. A. Morton, Michelle A. Maurer, and Christopher L. Dumont, "Assessing the Quality of Motion Picture Systems from Scene-to-Digital Data," Feb./March 2002.

2002Gary Demos, "The Future of the Moving Image," June 2001.

2001David Bancroft, "Recent Advances in the Transfer and Manipulation of Film Images in the Data and HDTV Domains," April 2000.

2000Arjun Ramamurthy, Lemuel Davis, and Franz Herbert, "Achieving Color Match Between Scanner, Monitor, and Film: A Color Management Implementation for Feature Animation," June 1999.

1999Ioan Allen, "Are Movies too Loud?" January, 1998.

1998Katherine Cornog, "Factors in Preserving Video Quality in Post-Production when Cascading Compressed Video Systems," Feb. 1997.

1997Mark Schubin, "Searching for the Perfect Aspect Ratio, " Aug. 1996.

1996G. Beakley, C. Cressy, and J. Van Pelt, "Video Compression: The Need for Testing," Nov. 1995.

1995David K. Fibush, "Integrating Digital Audio into the Serial Digital Video Signal," September 1994.

1994David K. Fibush, "Error Measurements in Studio Digital Television," Aug. 1993; and "Jitter Effects and Measurements in Serial Digital Televison Signals," Aug. 1993.

1993David K. Fibush and Bob Elkind, "Test and Measurement of Serial Digital Television Signals," Sept. 1992.

1992William F. Schreiber, "Considerations in the Design of HDTV Systems for Terrestrial Broadcasting," Sept. 1991.

1991Laurence J. Thorpe and Takaomi Hanabusa, "If Progressive Scanning Is So Good, How Bad is Interlace?" Dec. 1990.

1990Joyce H. D. M. Westerink and Jacques A. J. Roufs, "Subjective Image Quality as a Function of Viewing Distance, Resolution, and Picture Size," Feb. 1989.

Michael Isnardi, Charles B. Dietrich, and Terence R. Smith, "Advanced Compatible Television: A Progress Report," July 1989.

1989Laurence J. Thorpe and Yoshio Ozaki, "HDTV Electron Beam Recording," Oct. 1988.
William F. Schreiber and Eric Dubois, "Improvements to NTSC by Multidimensional Filtering," June 1988.

1988Steven J. Powell, John C. Norris, and Stephen W. Spakowsky, "Eastman Color High-Speed Daylight Negative Films 5297 and 7297," July 1987.

William E. Glenn and Karen G. Glenn, "HDTV Compatible Transmission," Mar. 1987.

1987Jonathan Erland, "Front Projection: Tessellating the Screen," Mar. 1986.
Brian Wyvill, Craig McPheeters, and Rich Garbutt, "University of Calgary 3-D Computer Animation System," June 1986.

1986W. Tuckerman Biays, "Aquacolor® Underwater Cinematography: Breaking the Available Light and Color Barriers Underwater," Mar. 1985.

John L. E. Baldwin, "Enhanced Television-A Progressive Experience," Sept. 1985.

1985Denise Q. Humphreys, Richard C. Sehlin, and Paul J. Mutter, "Printing System Evaluations," June 1984.

William F. Schreiber, "Psychophysics and the Improvement of Television Image Quality," Aug. 1984.

1984Wilfried Liekens, "Psychophysical Relationship of Image-Quality Characteristics of Motion Picture Color Films," Sept. 1983.

John L. E. Baldwin, "Analog Components, Multiplexed Components, and Digital Components-Friends or Foes?" Dec. 1983.

1983Ralph C. Brainard, Arun N. Netravali, D. E. Pearson, "Predictive Coding of the Composite NTSC Color Television Signals," Mar. 1982.

Glenn L. Kennell, Frank Reinking, Stephen W. Spakowsky, Richard C. Sehlen, Geoffrey L. Whittier, "Eastman Color High Speed Negative Film 5293," Oct. 1982.

1982C. Bradley Hunt, "Corrective Reproduction of Faded Color Motion Picture Prints," July 1981,

Haruo Sakata, "Effects of Contour Components on Picture Quality," Nov. 1981.

1981Toyohiko Hatada, Haruo Sakata, and Hideo Kusaka, "Psychophysical analysis of the 'sensation of reality' induced by a visual wide-field display," Aug. 1980.

1980Andrew Oliphant and Martin Weston, "A digital telecine processing channel," July 1979.

1979David K. Fibush, "SMPTE Type C helical-scan recording format," Nov. 1978.

1978Eugene Leonard, "Implications of digital video graphics," Oct. 1977.

1977Margaret W. Beach, "Microbiological growths in motion picture processing," Mar. 1976.

1976K. Kano, T. Imai, M. Inaba, A. Sugimoto, Y. Itoh, Y. Inoue and T. Shimuzu, "Television frame synchronizer," Mar. 1975.

1975A. D. Berg, R. J. Cormier and J. S. Courtney-Pratt, "High-resolution graphics using a HeCd laser to write on Kalvar film," July 1974.

1974W. J. Hannan, R. E. Flory, M. Lurie, and R. J. Ryan, "Holotape: a low-cost prerecorded television system using holographic storage," Nov. 1973.

1973L. E. DeMarsh, "Optimum Telecine Transfer Characteristics," Oct. 1972.

1972Leo Beiser, Wendell Lavender, Renville H. McMann, Jr., and Robert Walker, "Laser-beam recording for color television film transfer," Sept. 1971.

1971Peter C. Goldmark, et al., "Color electronic video recording," Aug. 1970.

1970C. B. B. Wood, "Some considerations in the television broadcasting of color film," Apr. 1969.

1969C. J. Bartleson, "Color perception and color television," Jan. 1968.

1968J. H. Altman, "Image quality criteria for data recording and storage," July 1967.

1967Walter C. Snyder, "An investigation of agitation in a continuous immersion film process," Oct. 1966.

1966Harold Wright, "Exposure meters and measuring techniques in telefilm exposure control," July 1965.

1965Otto H. Schade, Sr., "An evaluation of photographic image quality and resolving power," Feb. 1964.

1964J. S. Courtney-Pratt, J. H. Hett and J. W. McLaughlin, "Optical measurements on Telsar to determine the orientation of the spin axis and the spin rate," June 1963.

1963Robert L. Lamberts, "Application of sine-wave techniques to image-informing systems," Sept. 1962.

1962Fred H. Perrin, "What is the sensitivity of a photographic system?" July 1961.

1961E. C. Hutter, J. A. Inslee and T. H. Moore, "Electrostatic imaging and recording," Jan. 1960.

1960William F. Schreiber, Christopher F. Knapp and Norman D. Kay, "Synthetic highs-an experimental TV band-width reduction system," Aug. 1959.

1959Derwyn M. Severy, "Photographic instrumentation for collision injury research," Feb. 1958.

1958George Lewin, "The infrared transparency of magnetic tracks," Sept. and Dec. 1957.

1957Earl M. Lowry and J. Gordon Jarvis, "The luminance of subjective black," Aug. 1956.

1956Donald G. Fink, "Color television vs. color motion pictures," June 1955.

1955Richard S. O'Brien, "CBS color-television staging and lighting practices," Aug. 1954.

1954Armin J. Hill, "A mathematical and experimental foundation for stereoscopic photography," Oct. 1953.

1953R. J. Spottiswoode, N. L. Spottiswoode and Charles Smith, "Basic principles of the three-dimensional film," Oct. 1952.

1952D. L. MacAdam, "Quality of color reproduction," May 1951.

1951A. B. Jennings, W. A. Stanton and J. P. Weiss, "Synthetic color-forming binders for photographic emulsions," Nov. 1950.

1950Frederick J. Kolb, Jr., "Air cooling of motion picture film for higher screen illumination," Dec. 1949.

1949F. G. Albin, "Sensitometric aspect of television monitor-tube photography," Dec. 1948.

1948J. S. Chandler, D. F. Lyman and L. R. Martin, "Proposals for 16-mm and 8-mm sprocket standards," June 1947.

1947Albert Rose, "A unified approach to the performance of photographic film, television pickup tubes, and the human eye," Oct. 1946.

1946R. H . Talbot, "The projection life of film," Aug. 1945.

1945C. J. Kunz, H. E. Goldberg and C. E. Ives, "Improvement in illumination efficiency of motion picture printers," May 1944.

1944J. I. Crabtree, G. T. Eaton and L. E. Muehler, "Removal of hypo and silver salts from photographic materials as affected by the composition of the processing solutions," July 1943.

1943R. R. Scoville and W. L. Bell, "Design and use of noise-reduction bias systems," Feb. 1942 (Award made Apr. 1944).

1942W. J. Albersheim and Donald MacKenzie, "Analysis of sound-film drives," Nov. 1941.

1941J. C. Frayne and Vincent Pagliarulo, "The effects of ultraviolet light on variable-density recording and printing," June 1940.

1940R. R. McNath, "The surface of the nearest star," Mar. 1939.

1939- H. T. Kalmus, "Technicolor adventures in cinemaland," Dec. 1938.

1938K. S. Gibson, "The analysis and specification of color," Apr. 1937.

1937D. B. Judd, "Color blindness and anomalies of vision," June 1936.1936, E. W. Kellogg, "A comparison of variable-density and variable-width systems," Sept. 1935.

1935L. A. Jones and J. H. Webb, "Reciprocity law failure in photographic exposure," Sept. 1934.

1934P. A. Snell, "An introduction to the experimental study of visual fatigue," May 1933.