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First and ten: the technology behind the Super Bowl broadcast
 By Nate Anderson arstechnica.com Cablecam While cameras have been omnipresent at NFL games for decades, the "flying" overhead camera is a recent twist that enables broadcasters to provide views directly from behind the quarterback or from the middle of the defense—a view long-familar to fans of EA's Madden and NCAA Football franchises. Suspending a camera on guy wires doesn't sound particularly difficult, but it's hard enough to require specialized winches, gimbals, software—and Linux? Cablecam is one of the best-known of these suspended camera systems, and the company has provided equipment for both CBS and Fox broadcasts. The system they offer for sports events is a 100-pound assembly with an HD camera, a gyroscopic assembly to keep the camera level, and a fiber optic connection back to the control booth. Two wires, arranged to form an X, are strung the length of the field and then doubled back to their origin, where they are connected to winches. The camera is controlled by an operator who "flies" the camera around the field with a joystick while another person controls the pan, zoom, and tilt of the camera. A recent TV Technology article identified the Super Bowl camera on the Cablecam as the Sony HDC-F950, a $115,000, 3-CCD monster used only by movie and TV pros (though a recent Panasonic statement announced that Cablecam had just purchased a new Panasonic AK-HC1500G for use with A-list sporting events). Cablecam also announced a recent move to RTLinux from FSMLabs, an OS designed for real-time, mission-critical applications. "RTLinux was chosen for its reliability," said Cablecam head Jim Rudnusky. "It keeps personnel safe and ensures that the camera keeps flying when the game is on the air. The deterministic timing available from RTLinux is crucial to achieving smooth motor motion at high torque. The Cablecam application could not be achieved by anything less than a hard real-time OS." The camera's position is updated 200 times each second by the Overdrive motion control software, which runs on RTLinux, and control information is fed to a set of winches outside the stadium. The winches are driven by 20hp motors that can spin up to 3,000rpm and can position the camera anywhere in the field of play by reeling in cable and playing it out. The system is now sophisticated enough that an operator can fly the camera behind the ball carrier on a kickoff and follow his return up the field, all the way to endzone if necessary (and with Devin Hester running back kicks for Chicago, it may be necessary).
Let's take a ride on the floating football cam
JEFF ELDER Charlotte Observer 01/28/2007 Q. How does the remote TV camera that hovers over football fields work? Why doesn't it get in the way of passes or kicks? -- Bob Compton, Mooresville Ropes made of super strong and light Tectron run diagonally across the field, strung from four light stanchions in the corners of the stadium. There's a camera dolly that sits on the intersection of these ropes, and zips around, using winches and pulleys. On this dolly is a gyro-stabilized 100-pound camera, shooting in high-definition. From a booth in the stadium, one guy uses joysticks to drive the dolly. Another guy operates the camera. A fiber-optic cable connected to the camera carries control data, broadcast signals and power to the operators and a control truck loaded with broadcast equipment. The camera doesn't get in the way of the game because it always stays behind the play, and at least 12 feet above the turf. (The NFL insists on this.) This makes it almost impossible for the ball to hit the camera, or the cables. (In warm-ups, some quarterbacks and punters try.) In five years of use in college and pro games, the ball has never hit the system. I interviewed Jim Rodnunsky, inventor of the Cablecam, by phone from his office at Cablecam LLC of Los Angeles. (A competing system, Skycam, is owned by Winnercomm of Tulsa, Okla.) Rodnunsky, a former pro skier, developed the Cablecam 20 years ago as an instructional tool for skiing. In the first systems, he zipped down a cable strung above a mountainside. From inside a buggy, he filmed skiers and occasionally slowed himself down by squeezing the buggy's brakes, borrowed from a motorcycle. "It was very sporty," he said of the setup. Soon another occupant was added, so there was one guy to drive and one guy to film. Now two people were zipping down the mountainside. Some research and development was employed to make the system remote-controlled, and, as Rodnunsky says, "get the guys off the wire." Wireless and microwave technology took the payload of the buggy from 1,300 pounds down to 100. The NFL first used the remote cameras five years ago. There are no permanent systems in NFL stadiums. The Cablecam staff sets up and breaks down a system for every game that uses the technology -- pretty much all the games nationally broadcast by CBS and Fox. A crew of six reinstalls the rope system to 140-foot light stanchions, strings the cables, runs the camera for up to 16 hours, and takes the whole thing down again after the game. Occasionally the camera crew is tempted to take a break and zip the camera above the cheerleaders for a cleavage shot. "There are fines for that," Rodnunsky says. Cablecam charges the networks about $50,000 per game. The Super Bowl is a bit more. NASCAR uses the technology, and on a big scale. At Lowe's Motor Speedway, Cablecam sets up two 140-foot towers in the infield, and two towers behind the grandstand, giving the camera an area of about 800 feet by 600 feet to cover -- including pit row and the finish line. The company is working on technology that would zoom a camera with the cars at 180 mph. Rodnunsky has also won two Academy Awards for camera technology used in movies such as "Spider-Man" and "Batman Begins." Does he ever play with his technology at home? There's a remote buggy strung on a cable across his backyard and, "When the kids make me mad, I zip them over the pool and drop them in. Probably not the best punishment since they stand in line to be punished again."
THE FIRST-DOWN LINE — HOW IT WORKS
Rain a challenge, CBS prevails
 www.thelostremote.com Besides a few fogged up camera shots and a sideline photographer who got drenched, CBS’ production of the Super Bowl came off without a hitch. Crews wiped off camera lenses as fast as they could, as the director switched through the 48 cameras to keep a clear shot. This AP story praised the game coverage and the halftime show, but had a few choice words for the heart-tugging pregame show. “As you can imagine, all the feel-good segments got a lot more airtime than, say, the story about the Bears’ Tank Johnson needing a judge’s OK to get out of house arrest on gun-possession charges and travel to Miami.” Yes, but whaddya expect?
CBS Captures Super Bowl XLI More than 50 cameras, from high-speed to slo-mo will bring more HD coverage by Robin Berger, January 23, 2007 CBS is pulling out all the stops in its coverage of what is expected to be the biggest broadcast of the year: Super Bowl XLI at Miami's Dolphin Stadium, Feb. 4. "It's a monster show," said Ken Aagaard, CBS Sports vice president of operations and production. "We've added five or six cameras just for our basic coverage--we're going to make sure that we have the game covered properly." CBS estimated it would use about 50 cameras for game coverage (not including the network's "NFL Today" pregame show). Concurrently, NFL indicated that about 10 foreign rights holders have contracted an HD feed. Stateside there's an even greater emphasis on providing details of critical plays. Six of Sony's HDC3300 3x high-resolution slo-mo cameras will be used (see "NFL Takes Slo-mo Hi Def," in the Jan. 10, 2007 issue of TV Technology for more details). According to Aagaard, four hard configurations of this model will be in the two end zones, and two handheld versions will roam the field--one on the far side, one on the near side of the action. CBS will also add two different high-speed cameras and an upgraded suspension system from Cablecam, a Los Angeles-based developer of rigging systems. The network was considering a robotic camera and more special effects at press time. HIGH SPEED CBS officially kicked off its "SuperVision" high-speed camera footage on Jan. 7 during the playoff game between the New England Patriots and the New York Jets. The network first began working the high-speed option into its broadcasts on Thanksgiving, during the Miami Dolphins and Detroit Lions game at Ford Field, according to Aagaard. Two models will be used at the Super Bowl: the Phantom V10, manufactured by Vision Research and supplied by Image Cam and Inertia Unlimited, and NAC Image Technology's Memrecam Hi-Motion, supplied by Fletcher Chicago Inc. CBS will use the NAC Memrecam Hi-Motion camera to provide high-speed HD coverage of Super Bowl action. Once known only for their ability to capture the particulars of car crashes, CBS proved that high-speed cameras could provide notable looks at a golf swing or at a club head hitting a ball off a tee. But, unlike golf, football doesn't allow for 20- to 30-second playback--eight seconds is more like it. So, optimal placement and judicious usage are paramount. Aagaard said he envisioned two handheld Memrecams with 22x lenses in the field, and one Phantom V10 with a 100x lens sitting on a tripod in the CBS announcer booth high above the 50-yard line. "They're obviously in a position to see the ball crossing a first down or goal line, or a fumble situation," he said. "You put a handheld on the near side and the far side (of the action) because you can be blocked, so you're trying to cover yourself both ways. And then you take the high camera and try to focus that on the quarterback if he's throwing, or maybe on a wide receiver." Obviously the production crew will further finesse its strategy once they know the contenders. Although the Phantom claims to shoot 500 frames per second compared to 300 fps for the Memrecam, Aagaard said the latter "matches better with our other cameras." Both are set to shoot at 300 fps, where, he said, "they both look pretty good." Lighting is also a consideration. "Whenever you do anything 300 frames per second or up you're always going to have an issue with light," he said. The Memrecams require a light level of about 190 foot-candles. Dolphin Stadium agreed to provide 175, Aagaard said. It is generally recognized that light levels in the corners are less than that. So, Musco Lighting is providing a secondary source. "The camera is selectable if you have lower light levels--we can go from 300 [fps] down to 240 and gain an additional stop of light sensitivity," said Fletcher's Dan Grainge. "But, if you have to use it below 180, why use it?" TRACKING SHOTS Cablecam President Jim Rodnunsky said the suspension system that CBS contracted for the post season (beginning Jan. 7 at the AFC Wild Card game) operates 35 percent faster than it did a year ago, thanks to improvements by Cablecam, Sony (to its HDCF950 camera) and gimbal manufacturer Cineflex. During the regular season, improvements translated into more aggressive coverage for Fox, NBC and the NFL Network. "On kickoffs, we can park up in the corner and chase the runners down the sidelines," said Rodnunsky, who also noted the system's ability to "fly over the line of scrimmage and behind the quarterback in a faster way." SHOT, SPECIAL EFFECTS & TIMING CBS will install a robotic camera supplied by Imagecam in the TV tower used by its local affiliate, WFOR. The camera will provide the requisite establishing shots, shooting back at the stadium via fiber. "We cannot have a blimp after 4:30 over the stadium--it's considered a Level One security situation," since 9/11, Aagaard said. He said CBS was also looking to do more virtual graphics. "If the situation is right, we will use a graphic called the 'Tackle Box' which will virtually show whether the QB has stayed in the pocket or not." To date, CBS broadcasts have included some virtual stadium signs for billboards, as well as drive charts and target lines "where guys need to get to when they kick," Aagaard said. Aagaard is impressed with the amount of cool stuff out there to cover the big game. But, he observed, there are also obvious limitations. "You still have to find time to get some of these elements in properly [without] missing any snaps," he said, noting the need to balance technology requirements against, for example, the pace of quarterbacks who favor no huddle offense. "Half of our equipment is useless if Peyton Manning gets to the Super Bowl."
Cablecam uses new camera at HBO Sports welterweight championships
Dec 22, 2006 6:00 AM Aerial camera tracking systems specialist Cablecam International in Los Angeles recently purchased Panasonic’s AK-HC1500G 1080i/720p switchable HD point-of-view camera for broadcast coverage of high-profile sporting events. The camera made its debut Nov. 4 at HBO Sports’ live broadcast of the world welterweight championship and has since been used at several NFL games as well as at The Grey Cup, the championship game of the Canadian Football League. Founded in 1985 by Jim Rodnunsky, Cablecam has delivered tracking technology for a large variety of sporting events, including three Olympics, two Super Bowls and more than 100 NFL games. The fact that the Panasonic AK-HC1500G can be switched from 1080i to 720p means it can meet the signal requirements of all of Cablecam’s clients, Rodnunsky said. It also can be downconverted easily when SD is required. At the welterweight championship match at the Mandalay Bay Resort & Casino in Las Vegas, the Cablecam system was predominantly used for moving beauty shots, flying over the heads of contenders Floyd Mayweather Jr. and Carlos Baldomir, as well as ringside celebrities. Cablecam rigged its system from the 50ft by 50ft lighting grid so it could fly the camera in big circles over the 25ft by 25ft ring at the match. According to Rodnunsky, the HC1500 performed “very well” during the event.
SportsFaction.com Written by Yaamo on January 17th, 2007 Have you noticed that weird camera that seems to float over the middle of the field this NFL season? If memory serves, it was first used by ESPN a few years ago for their Sunday (now Monday) night games. Seems that the rest of the networks have picked up the technology, hoping to enhance their coverage of such thrilling games as Week 1’s Seattle at Detroit and Week 2’s Kansas City at Denver, to name a few. But just how does that weird, floating camera work? The basic setup involves the camera, cables attached to the 4 corners of the stadium, winches, a modified joystick, and Linux. Here’s a great article on the little 100-pound wonder known as the Cablecam.
A new company record!
Cablecam just set a new company record! Our crew successfully
rigged and shot 10 NFL and 5 BCS Bowl Games in under 2 weeks.All 15 games were shot in HD. Thanks Guys!!
CBC's Grey Cup broadcast goes on the air without a hitch
By William Houston, Toronto Globe and Mail The CBC's telecast of the Grey Cup gained momentum before the game even started, when it caught what looked to be the start of a rumble on the field between a B.C. Lion and a Montreal Alouette. The proximity of a camera and microphone was fortuitous, of course, but good luck is often the product of good planning. And the CBC didn't leave much to chance for its coverage of the Cup. There were a few small problems, but the pictures were terrific and the commentary, although uneven, generally good. Together they told the story of the game very well. Certainly, the shots of the exchange between Otis Floyd of the Lions and the Als' Avon Cobourne were an example of compelling visuals illustrating the drama of the moment and helping to set the scene. In the second quarter, the story was advanced by a good shot of Floyd clothes-lining Cobourne, followed by a close-up of a somewhat shaken Cobourne at the Montreal bench. The 26 manned cameras didn't miss much. The conventional placements were accentuated by the Cablecam that gave us the interesting overhead shots. And the close-ups helped take us tight to the action.
CBC crew a runaway winner
CBC crew a runaway winner High definition and Cablecam put viewers right on the field Now it will be really tough to watch games with a regular set Nov. 28, 2005. 01:00 AM CHRIS ZELKOVICH This may not have been the greatest Grey Cup game ever played, though it was close. But there's no doubt that it was the best Grey Cup TV production ever. Of course, it should have been. Armed with the biggest arsenal of technology in the game's history, CBC would have had its broadcasting licence revoked if it blew this one. But working with high definition for the first time in football and using the Cablecam for the first time ever, the CBC broadcast excelled. It wasn't perfect. The camera operator was faked out of his Calvin Kleins and missed Anthony Calvillo's bootleg touchdown in the fourth quarter. And announcers Mark Lee and Chris Walby should have known that you can't make two forward passes on the same play, as Calvillo did in overtime. But all things considered, it was outstanding
Cablecam International Equips Its Award-Winning Aerial System With Panasonic's AK-HC1500G Switchable HD POV Camera For Network Coverage Of A-List Spor
(SECAUCUS, NJ --December 14, 2006) Cablecam International (Los Angeles, CA), an international leader in aerial camera tracking systems, recently purchased Panasonic's AK-HC1500G 1080i/720p switchable HD point-of-view camera for broadcast coverage of high-profile sporting events. The camera made its debut last month at HBO Sports' live broadcast of the world welterweight championship, and has since been used at several NFL games as well as at The Grey Cup, the championship game of the Canadian Football League.Founded in 1985 by Jim Rodnunsky, Cablecam has delivered tracking technology in three Olympics; two Super Bowls; over one hundred NFL games; two seasons of NASCAR as Texas Instruments DLP Ultimate Picturecam; hundreds of NBA games for TNT, ESPN/ABC; MLB; Euro Soccer; Brazilian Soccer; Euro Rugby; Pro Tennis, and more. Panasonic's previous generation of HD POV cameras, the AK-HC910 (1080i) and AK-HC900 (720p), were used at a majority of these events.Cablecam, which also specializes in feature film, television and commercial production, and major live entertainment, has received two Academy Awards for Technical Achievement in Feature Films and six Emmy Awards for Sports Broadcasting."With the HC1500G, Panasonic is providing a POV camera with improved versatility at a more economical price," said Rodnunsky. "The 1080i/720p switchability addresses the signal requirements of virtually all our broadcast clients, and we can easily downconvert when it's a standard-definition show.""Our field engineering staff has been very pleased with the performance of the HC1500G, and it's been matching up beautifully with the game cameras," he added.At the welterweight championship match at the Mandalay Bay Resort & Casino in Las Vegas, the Cablecam system was predominantly used for moving beauty shots, flying over the heads of contenders Floyd Mayweather Jr. and Carlos Baldomir as well as ringside celebrites."We rigged our system from the 50' by 50' lighting grid so we could fly the camera in big circles over the 25' by 25' ring," recounted Rodnunsky." Everything was new--the rig, gimbal, drive and camera. The HC1500 performed very well with this new geometry, and we rode it higher and tighter inside and outside the corners of the ring. All told, the camera is adding to our overall intellectual property.""The Cablecam system delivered beautiful, 360 degree images, and the Panasonic POV camera matched perfectly with our Thomson LDK 6000 MKII cameras on the ground," said John Micale, Vice President Sports Production of HBO Sports.Compatible with all international HD standards, the AK-HC1500G is the first multi-purpose camera to feature a variable frame rate functionality and cine gamma curve, features that have distinguished Panasonic's popular VariCam HD Cinema™ Camcorder. The camera's 1-megapixel, 2/3-inch 3-CCDs produce outstanding color accuracy, with improved on-chip lenses to achieve a standard sensitivity of F10.0 at 2000 lux and a smear level of less than -130 dB. The AK-HC1500 uses CCD accumulation and horizontal/vertical addition to create a gain increase of up to +68 dB (with a minimum illumination of 0.015 dB). The camera offers both 1080 (60i/59.94i, 50i, 30p, 25p/24p) and 720 (60p, 59.94p/50p) high definition output.The remotely-controllable AK-HC1500G is compatible with Panasonic's comprehensive line of indoor and outdoor pan-tilt heads, pan-tilt controllers and camera control units. The optional, compact AK-HRP150 camera control unit offers full image control. The camera has a rear option slot for expansion (e.g., downconverter, analog or fiber output unit), making the AK-HC1500 suitable for a broad spectrum of applications
Cablecam on the set of "Poseidon Adventure"
Cablecam mentioned in Entertainment Weekly (ew.com) Money Shot Section, "Ship Shapers"--snip But CG wouldn't do for the two separate segments of Josh Lucas jogging, because even ILM can't yet make a virtual-actor clone look rightly hunky. So Lucas — we mean Josh, not George of ILM — had to shlep out to a huge, flat, concrete flood basin at the Sepulveda Dam in L.A., where a ''cable-cam'' rig moving on wires at 20 miles per hour (see last week's Money Shot for an explanation of the rig system) photographed him jogging in tricky ways that would match the physics of the virtual-moving-camera in the final CG shot. READ MORE
A chance to look over the Quarterback's Shoulders.
 New York Times January 6, 2005- Fox uses an aerial system provided by Cablecam International of Los Angeles for National Football League games, and will use a Cablecam setup at the Super Bowl in Jacksonville, Fla., on Feb. 6. CBS uses Cablecam as well; ABC and ESPN use a competing system, Skycam, owned by Winnercomm of Tulsa, Okla., for professional and college games.
VFXworld- Posiedon Adventure
Poseidon: Making a Big CG Splash Alain Bielik dives into latest state-of-the-art fluid simulation advances and other CG modeling breakthroughs for Poseidon. By Alain Bielik
Poseidon: Making a Big CG Splash (continued from page 1 Once the ship was lit and textured, it was populated by about 100 digital passengers. Individual animations were derived from a motion capture session done at House of Moves. In the challenging opening shot, the trickiest aspect was the integration of Lucas in the scene, both as a digital double in wide angles, and as a live-action element in close-ups. The shot was first previsualized in 3D, and the camera move exported into a massive 400-foot square Cablecam system that was used to shoot Lucas. Read More
Cablecam makes its NASCAR debut
...the Budweiser Shootout. The broadcast featured state-of-the-art 720p high definition clarity and Dolby 5.1 audio and featured the first-ever use of Cablecam during a NASCAR race, all of which will be offered during Sunday's coverage of the Daytona 500 starting at 1 p.m. ET. This week, FOX...
NASCAR - Bowtie Brigade to reclaim 'Dega dominance
...DLP Cablecam: At Texas, I watched the two riggers that climb those poles. I don't know how much money they make, but it's not nearly enough. It takes several days to install the towers and cables. It's the same Cablecam that you see on NFL on FOX, but obviously we're covering a much bigger... Read More
Big Mountain Heliskiing
 DOCUMENTARY SKI FILM SHOT IN BELLA COOLA…… FIRST OF ITS KIND!! By Caitlin Thompson, Coast Mountain News, Bella Coola.April 2006 -snip- Cablecam International has made a worldwide name for itself by pushing the limits of what film can really accomplish for the viewer. Cablecam suspends its cameras on custom-made rigs high above the action that enables the filmmaker to capture the action and the 'feeling' of the shot at the same time. The company has been an integral part of Hollywood films like 'Catwoman' and 'Troy', and the technology has also been employed by the NFL, the Olympics, and the Kentucky Derby. Cablecam has never been used in the backcountry before and had to be set up by world class climbers on both locations, with Mad Dog Glacier proving to be quite a challenge for the rigging team. It took four full days to complete the set up. The skier is positioned on the opposing ridge from the Cablecam, which is operated via remote control by the filmmaker and runs on cables on an X and Z axis (back and forth and up and down). As the skier begins the run, Cablecam follows the skier and can get to within five feet, traveling down the slope at speeds up to 30 miles per hour. As Kronick explains, “It's a totally different perspective than those shots taken from the helicopter. Instead of feeling removed from the skier, the Cablecam allows the viewer to experience how the skier may feel.” Read More
CABLECAM NAB 2006, Las Vegas
NASCAR - Ready for Richmond and beyond; Texas, COT keep getting better
...Texas marked our third race this season using Cablecam, and it takes views of the track to another level. Another new feature we had been talking about for four or five years and finally unveiled last Sunday was "Crank It Up" during a pit stop. It's just another unique sound that fans don't... More
Fox bringing Cablecam to NASCAR
SCENEDAILY.com - Fox officials say the network is bringing its popular Cablecam for Sunday's coverage of the UAW-DaimlerChrylser 400 Nextel Cup race at Las Vegas Motor Speedway. The high-definition camera, made popular by NFL on Fox, will be suspended above the track by a system of cables, puleys and computer-controlled winches. The camera moves within a 250,000-square-foot area covering the front stretch, the start/finish line and pit road at LVMS. Read More
Ex-Edmontonian's 'Cablecam' zooms to second Oscar
 Graham Andrews, The Edmonton JournalFriday, March 3, 2006 EDMONTON - A former Ross Sheppard high school student who got his start in business booking ski trips for his friends has earned his second Oscar. Last week, Jim Rodnunsky received the award from the Academy of Motion Picture Arts and Sciences for technological achievement in filmmaking. His first award came in 1998. Each year, the Academy hands out awards in some categories in the weeks leading up to the Oscars, which will be televised on Sunday. "I was the 10th-grade president at Ross Shep," Rodnunsky, 49, said Wednesday from his Los Angeles home. "That's where I started my illustrious career as an entrepreneur -- by booking ski trips to Banff and Jasper." Those early ski trips would play a part in the development of Cablecam, the high-tech, high-level camera system that has earned him two Oscars and six Emmys. Read More
2006 NBA All Star Game
New York , N.Y. - NBA All-Star 2006 To Reach Fans In Record 215 Countries Through NBA Television, Internet, Film and Digital Technologies -snip 35high-definition cameras will be utilized by TNT to cover NBA All-Star Saturday Night and the 55 th annual NBA All-Star Game, along with 18 EVS-XTHD networked high definition video servers. TNT’s coverage also will include Cablecam, a helicopter for exterior shots and a bevy of other high-tech equipment to document the world’s best athletes as they take center stage in Houston. Read More
NASCAR - Cablecam Makes Its Regular Season Debut at Las Vegas Motor Speedway
Look! Up in the sky! It's a bird! It's a plane! It's Cablecam! Beloved by NFL on FOX fans and featured for the first time on NASCAR coverage at the 2005 Daytona 500, FOX Sports introduces Cablecam to a regular season NASCAR race for the first time ever this weekend at Las Vegas Motor Speedway. Sponsored by Texas Instruments' DLP® Technology, Cablecam is a high definition camera suspended above the track by a system of cables, pulleys and computer-controlled winches. The gyro-stabilized aerial camera can move anywhere within a 250,000 square foot area that stretches over the front stretch, start/finish line and along pit road at Las Vegas Motor Speedway. Cablecam requires two operators, a pilot that uses a joystick to "fly" the remote-controlled camera and a technician who operates the camera itself, panning, zooming and focusing its lens at the discretion of director Artie Kempner. "Cablecam provides unique, intimate shots of the cars and drivers, taking viewers places they've never been before," said Kempner. Read More
Academy Award
HOLLYWOOD -- The Academy of Motion Picture Arts & Sciences has picked 17 winners of its Scientific & Technical Academy Awards. Devices do not have to have been developed and introduced during 2005 to qualify for the Oscar. The Sci-Tech Awards committee considers only those innovations with a successful track record in the industry. Cablecam recieves its award in the form of an Academy Certificate for the 3-D volumetric suspended cable camera technologies. More
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