2009 (82nd Annual Awards)
Winners Only

Listed below are the Academy Award winners for the year 2009 (non-winning nominations have been omitted from this list). Click on the name of a film, person or song in the list to display more information about that film, person or song Or, click on a year in the column on the right to display the winners from that year.

Best Picture

The Hurt Locker, Voltage Pictures Production; Summit Entertainment. Kathryn Bigelow, Mark Boal, Nicolas Chartier and Greg Shapiro, Producers.

Actor in a Leading Role

Jeff Bridges in Crazy Heart, Informant Media/Butcher’s Run Films Production; Fox Searchlight.

Actress in a Leading Role

Sandra Bullock in The Blind Side, Alcon Entertainment Production; Warner Bros.

Actor in a Supporting Role

Christoph Waltz in Inglourious Basterds, Weinstein Company/Universal Pictures/A Band Apart/Zehnte Babelsberg Production; The Weinstein Company/Universal Pictures. (Germany, USA)

Actress in a Supporting Role

Mo’Nique in Precious: Based on the Novel ‘Push’ by Sapphire, Lee Daniels Entertainment/Smokewood Entertainment Production; Lionsgate.

Directing

The Hurt Locker, Voltage Pictures Production; Summit Entertainment. Kathryn Bigelow.

Animated Feature Film

Up, Pixar Production; Walt Disney. Pete Docter.

Art Direction-Set Decoration

Avatar, Lightstorm Entertainment Production; 20th Century Fox. (UK, USA) Art direction by Rick Carter and Robert Stromberg; set decoration by Kim Sinclair.

Cinematography

Avatar, Lightstorm Entertainment Production; 20th Century Fox. (UK, USA) Mauro Fiore.

Costume Design

The Young Victoria, GK Films Production; Apparition. (UK, USA) Sandy Powell.

Documentary

(Feature)

The Cove, Oceanic Preservation Society Production; Roadside Attractions. Louie Psihoyos and Fisher Stevens.

(Short Subject)

Music by Prudence, iThemba Production. (USA, Zimbabwe) Roger Ross Williams and Elinor Burkett.

Film Editing

The Hurt Locker, Voltage Pictures Production; Summit Entertainment. Bob Murawski and Chris Innis.

Foreign Language Film

The Secret in Their Eyes, Haddock Films Production; Sony Pictures Classics. (Argentina, Spain) Argentina.

Makeup

Star Trek, Bad Robot Production; Paramount and Spyglass Entertainment. (USA, Germany) Barney Burman, Mindy Hall and Joel Harlow.

Music

(Original Score)

Up, Pixar Production; Walt Disney. Michael Giacchino.

(Original Song)

The Weary Kind (Theme from Crazy Heart) from Crazy Heart, Informant Media/Butcher’s Run Films Production; Fox Searchlight. Music and lyric by Ryan Bingham and T Bone Burnett.

Short Films

(Animated)

Logorama, Autour de Minuit Production; Autour de Minuit. (France) Nicolas Schmerkin.

(Live Action)

The New Tenants, Park Pictures and M & M Production. (Denmark, USA) Joachim Back and Tivi Magnusson.

Sound Editing

The Hurt Locker, Voltage Pictures Production; Summit Entertainment. Paul N. J. Ottosson.

Sound Mixing

The Hurt Locker, Voltage Pictures Production; Summit Entertainment. Paul N. J. Ottosson and Ray Beckett.

Visual Effects

Avatar, Lightstorm Entertainment Production; 20th Century Fox. (UK, USA) Joe Letteri, Stephen Rosenbaum, Richard Baneham and Andrew R. Jones.

Writing

(Adapted Screenplay)

Precious: Based on the Novel ‘Push’ by Sapphire, Lee Daniels Entertainment/Smokewood Entertainment Production; Lionsgate. Screenplay by Geoffrey Fletcher.

(Original Screenplay)

The Hurt Locker, Voltage Pictures Production; Summit Entertainment. Written by Mark Boal.

Honorary Award

To Lauren Bacall in recognition of her central place in the golden age of motion pictures. [ [Statuette]]

To Roger Corman for his rich engendering of films and filmmakers. [ [Statuette]]

To Gordon Willis for unsurpassed mastery of light, shadow, color and motion. [ [Statuette]]

Irving G. Thalberg Memorial Award

John Calley

Scientific and Technical Award

(Scientific and Engineering Award)

To Per Christensen, Michael Bunnell and Christophe Hery for the development of point-based rendering for indirect illumination and ambient occlusion. Much faster than previous ray-traced methods, this computer graphics technique has enabled color bleeding effects and realistic shadows for complex scenes in motion pictures.

To Dr. Richard Kirk for the overall design and development of the Truelight real-time 3D look-up table hardware device and color management software. Through the use of color management software and hardware, this complete system enables accurate color presentation in the digital intermediate preview process. The Truelight system is widely utilized in digital intermediate production environments around the world.

To Volker Massmann, Markus Hasenzahl, Dr. Klaus Anderle and Andreas Loew for the development of the Spirit 4K/2K film scanning system as used in the digital intermediate process for motion pictures. The Spirit 4K/2K has distinguished itself by incorporating a continuous-motion transport mechanism enabling full-range, high-resolution scanning at much higher frame rates than non-continuous transport scanners.

To Michael Cieslinski, Dr. Reimar Lenz and Bernd Brauner for the development of the ARRISCAN film scanner, enabling high-resolution, high-dynamic range, pin-registered film scanning for use in the digital intermediate process. The ARRISCAN film scanner utilizes a specially designed CMOS array sensor mounted on a micro-positioning platform and a custom LED light source. Capture of the film’s full dynamic range at various scan resolutions is implemented through sub-pixel offsets of the sensor along with multiple exposures of each frame.

To Wolfgang Lempp, Theo Brown, Tony Sedivy and Dr. John Quartel for the development of the Northlight film scanner, which enables high-resolution, pin-registered scanning in the motion picture digital intermediate process. Developed for the digital intermediate and motion picture visual effects markets, the Northlight scanner was designed with a 6K CCD sensor, making it unique in its ability to produce high-resolution scans of 35mm, 8-perf film frames.

To Steve Chapman, Martin Tlaskal, Darrin Smart and Dr. James Logie for their contributions to the development of the Baselight color correction system, which enables real-time digital manipulation of motion picture imagery during the digital intermediate process. Baselight was one of the first digital color correction systems to enter the digital intermediate market and has seen wide acceptance in the motion picture industry.

To Mark Jaszberenyi, Gyula Priskin and Tamas Perlaki for their contributions to the development of the Lustre color correction system, which enables real-time digital manipulation of motion picture imagery during the digital intermediate process. Lustre is a software solution that enables non-linear, real-time digital color grading across an entire feature film, emulating the photochemical color-timing process.

To Brad Walker, D. Scott Dewald, Bill Werner and Greg Pettitt for their contributions furthering the design and refinement of the Texas Instruments DLP Projector technology, achieving a level of performance that enabled color-accurate digital intermediate previews of motion pictures. Working in conjunction with the film industry, Texas Instruments created a high-resolution, color-accurate, high-quality digital intermediate projection system that could closely emulate film-based projection in a theatrical environment.

To Fujifilm Corporation, Ryoji Nishimura, Masaaki Miki and Youichi Hosoya for the design and development of Fujicolor ETERNA-RDI digital intermediate film, which was designed exclusively to reproduce motion picture digital masters. The Fujicolor ETERNA-RDI Type 8511/4511 digital intermediate film has thinner emulsion layers with extremely efficient couplers made possible by Super-Nano Cubic Grain Technology. This invention allows improved color sensitivity with the ability to absorb scattered light, providing extremely sharp images. The ETERNA-RDI emulsion technology also achieves less color cross-talk for exacting reproduction. Its expanded latitude and linearity provides superior highlights and shadows in a film stock with exceptional latent image stability.

To Paul Debevec, Tim Hawkins, John Monos and Dr. Mark Sagar for the design and engineering of the Light Stage capture devices and the image-based facial rendering system developed for character relighting in motion pictures. The combination of these systems, with their ability to capture high fidelity reflectance data of human subjects, allows for the creation of photorealistic digital faces as they would appear in any lighting condition.

(Technical Achievement Award)

To Mark Wolforth and Tony Sedivy for their contributions to the development of the Truelight real-time 3D look-up table hardware system. Through the use of color management software and hardware, this complete system enables accurate color presentation in the digital intermediate preview process. The Truelight system is widely utilized in digital intermediate production environments around the world.

To Dr. Klaus Anderle, Christian Baeker and Frank Billasch for their contributions to the LUTher 3D look-up table hardware device and color management software. The LUTher system was one of the first color look-up table processors to be widely adopted by the pioneering digital intermediate facilities in the industry. This innovation enabled accurate color presentation by facilities that had analyzed projected film output and built 3D look-up tables in order to emulate print film.

To Steve Sullivan, Kevin Wooley, Brett Allen and Colin Davidson for the development of the Imocap on-set performance capture system. Developed at Industrial Light & Magic and consisting of custom hardware and software, Imocap is an innovative system that successfully addresses the need for on-set, low-impact performance capture.

To Hayden Landis, Ken McGaugh and Hilmar Koch for advancing the technique of ambient occlusion rendering. Ambient occlusion has enabled a new level of realism in synthesized imagery and has become a standard tool for computer graphics lighting in motion pictures.

To Björn Hedén for the design and mechanical engineering of the silent, two-stage planetary friction drive Hedén Lens Motors. Solving a series of problems with one integrated mechanism, this device had an immediate and significant impact on the motion picture industry.