2016 (89th Annual Awards)
Winners Only
Listed below are the Academy Award winners for the year 2016 (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
Moonlight, An A24/Plan B Entertainment/Pastel Productions production; A24. Adele Romanski, Dede Gardner and Jeremy Kleiner, Producers.Actor in a Leading Role
Casey Affleck in Manchester by the Sea, A K Period Media/B Story/CMP/Pearl Street Films production; Roadside Attractions/Amazon Studios.Actress in a Leading Role
Emma Stone in La La Land, A Black Label Media/TIK Films Limited/Impostor Pictures/Gilbert Films/Marc Platt Productions production; Summit Entertainment. (USA, Hong Kong)Actor in a Supporting Role
Actress in a Supporting Role
Viola Davis in Fences, A Bron Creative/Macro Media/Scott Rudin Productions Production; Paramount. (USA, Canada)Directing
La La Land, A Black Label Media/TIK Films Limited/Impostor Pictures/Gilbert Films/Marc Platt Productions production; Summit Entertainment. (USA, Hong Kong) Damien Chazelle.Animated Feature Film
Zootopia, A Walt Disney Pictures/Walt Disney Animation Studios production; Walt Disney. Byron Howard, Rich Moore and Clark Spencer.Cinematography
La La Land, A Black Label Media/TIK Films Limited/Impostor Pictures/Gilbert Films/Marc Platt Productions production; Summit Entertainment. (USA, Hong Kong) Linus Sandgren.Costume Design
Fantastic Beasts and Where to Find Them, A Heyday Films production; Warner Bros. Pictures. (UK, USA) Colleen Atwood.Documentary
(Feature)
O.J.: Made in America, An ESPN Films/Laylow Films production; ESPN Films. Ezra Edelman and Caroline Waterlow.(Short Subject)
Film Editing
Hacksaw Ridge, A Pandemonium Films/Permut Productions/Vendian Entertainment/Kylin Pictures production; Summit Entertainment. (Australia, USA) John Gilbert.Foreign Language Film
The Salesman, A Memento Films Production/Asghar Farhadi Production/Arte France Cinéma production; Filmiran/Memento Films Distribution. (Iran, France)Makeup and Hairstyling
Suicide Squad, A DC Entertainment/RatPac-Dune Entertainment/Atlas Entertainment production; Warner Bros. Pictures. Alessandro Bertolazzi, Giorgio Gregorini and Christopher Nelson.Music
(Original Score)
La La Land, A Black Label Media/TIK Films Limited/Impostor Pictures/Gilbert Films/Marc Platt Productions production; Summit Entertainment. (USA, Hong Kong) Justin Hurwitz.(Original Song)
City of Stars from La La Land, A Black Label Media/TIK Films Limited/Impostor Pictures/Gilbert Films/Marc Platt Productions production; Summit Entertainment. (USA, Hong Kong) Music by Justin Hurwitz; lyric by Benj Pasek and Justin Paul.Production Design
La La Land, A Black Label Media/TIK Films Limited/Impostor Pictures/Gilbert Films/Marc Platt Productions production; Summit Entertainment. (USA, Hong Kong) Production design by David Wasco; set decoration by Sandy Reynolds-Wasco.Short Films
(Animated)
Piper, A Pixar Animation Studios/Walt Disney Pictures production; Walt Disney. Alan Barillaro and Marc Sondheimer.(Live Action)
Sound Editing
Arrival, A Lava Bear Films/21 Laps Entertainment/FilmNation Entertainment Production; Paramount. (USA, Canada, India) Sylvain Bellemare.Sound Mixing
Hacksaw Ridge, A Pandemonium Films/Permut Productions/Vendian Entertainment/Kylin Pictures production; Summit Entertainment. (Australia, USA) Kevin O’Connell, Andy Wright, Robert Mackenzie and Peter Grace.Visual Effects
The Jungle Book, A Walt Disney Pictures/Fairview Entertainment production; Walt Disney. (UK, USA) Robert Legato, Adam Valdez, Andrew R. Jones and Dan Lemmon.Writing
(Adapted Screenplay)
Moonlight, An A24/Plan B Entertainment/Pastel Productions production; A24. Screenplay by Barry Jenkins; story by Tarell Alvin McCraney.(Original Screenplay)
Manchester by the Sea, A K Period Media/B Story/CMP/Pearl Street Films production; Roadside Attractions/Amazon Studios. Written by Kenneth Lonergan.Honorary Award
To Jackie Chan, an international film star who has captivated millions with his wit, boundless energy and unparalleled athletic artistry. [ [Statuette]]To Anne V. Coates, in recognition of a film editing career of remarkable breadth and exceptional collaborative achievement. [ [Statuette]]To Lynn Stalmaster, a true pioneer whose keen insight and inspired creativity transformed the art of motion picture casting. [ [Statuette]]To Frederick Wiseman, whose masterful and distinctive documentaries examine the familiar and reveal the unexpected. [ [Statuette]]Scientific and Technical Award
(Scientific and Engineering Award)
To ARRI for the pioneering design and engineering of the Super 35 format Alexa digital camera system. With an intuitive design and appealing image reproduction, achieved through close collaboration with filmmakers, ARRI’s Alexa cameras were among the first digital cameras widely adopted by cinematographers.To RED Digital Cinema for the pioneering design and evolution of the RED Epic digital cinema cameras with upgradeable full-frame image sensors. RED’s revolutionary design and innovative manufacturing process have helped facilitate the wide adoption of digital image capture in the motion picture industry.To Sony for the development of the F65 CineAlta camera with its pioneering high-resolution imaging sensor, excellent dynamic range, and full 4K output. Sony’s unique photosite orientation and true RAW recording deliver exceptional image quality.To Panavision and Sony for the conception and development of the groundbreaking Genesis digital motion picture camera. Using a familiar form factor and accessories, the design features of the Genesis allowed it to become one of the first digital cameras to be adopted by cinematographers.To Marcos Fajardo for the creative vision and original implementation of the Arnold Renderer, and to Chris Kulla, Alan King, Thiago Ize and Clifford Stein for their highly optimized geometry engine and novel ray-tracing algorithms which unify the rendering of curves, surfaces, volumetrics and subsurface scattering as developed at Sony Pictures Imageworks and Solid Angle SL. Arnold’s scalable and memory-efficient single-pass architecture for path tracing, its authors’ publication of the underlying techniques, and its broad industry acceptance were instrumental in leading a widespread adoption of fully ray-traced rendering for motion pictures.To Vladimir Koylazov for the original concept, design and implementation of V-Ray from Chaos Group. V-Ray’s efficient production-ready approach to ray-tracing and global illumination, its support for a wide variety of workflows, and its broad industry acceptance were instrumental in the widespread adoption of fully ray-traced rendering for motion pictures.To Luca Fascione, J. P. Lewis and Iain Matthews for the design, engineering, and development of the FACETS facial performance capture and solving system at Weta Digital. FACETS was one of the first reliable systems to demonstrate accurate facial tracking from an actor-mounted camera, combined with rig-based solving, in large-scale productions. This system enables animators to bring the nuance of the original live performances to a new level of fidelity for animated characters.To Steven Rosenbluth, Joshua Barratt, Robert Nolty and Archie Te for the engineering and development of the Concept Overdrive motion control system. This user-friendly hardware and software system creates and controls complex interactions of real and virtual motion in hard real-time, while safely adapting to the needs of on-set filmmakers.(Technical Achievement Award)
To Thomson Grass Valley for the design and engineering of the pioneering Viper FilmStream digital camera system. The Viper camera enabled frame-based logarithmic encoding, which provided uncompressed camera output suitable for importing into existing digital intermediate workflows.To Larry Gritz for the design, implementation and dissemination of Open Shading Language (OSL). OSL is a highly optimized runtime architecture and language for programmable shading and texturing that has become a de facto industry standard. It enables artists at all levels of technical proficiency to create physically plausible materials for efficient production rendering.To Carl Ludwig, Eugene Troubetzkoy and Maurice van Swaaij for the pioneering development of the CGI Studio renderer at Blue Sky Studios. CGI Studio’s groundbreaking ray-tracing and adaptive sampling techniques, coupled with streamlined artist controls, demonstrated the feasibility of ray-traced rendering for feature film production.To Brian Whited for the design and development of the Meander drawing system at Walt Disney Animation Studios. Meander’s innovative curve-rendering method faithfully captures the artist’s intent, resulting in a significant improvement in creative communication throughout the production pipeline.To Mark Rappaport for the concept, design and development, to Scott Oshita for the motion analysis and CAD design, to Jeff Cruts for the development of the faux-hair finish techniques, and to Todd Minobe for the character articulation and drive-train mechanisms, of the Creature Effects Animatronic Horse Puppet. The Animatronic Horse Puppet provides increased actor safety, close integration with live action, and improved realism for filmmakers.To Glenn Sanders and Howard Stark for the design and engineering of the Zaxcom Digital Wireless Microphone System. The Zaxcom system has advanced the state of wireless microphone technology by creating a fully digital modulation system with a rich feature set, which includes local recording capability within the belt pack and a wireless control scheme providing real-time transmitter control and time-code distribution.To David Thomas, Lawrence E. Fisher and David Bundy for the design, development and engineering of the Lectrosonics Digital Hybrid Wireless Microphone System. The Lectrosonics system has advanced the state of wireless microphone technology by means of an innovative digital predictive algorithm to realize full fidelity audio transmission over a conventional analog FM radio link, by reducing transmitter size, and by increasing power efficiency.To Parag Havaldar for the development of expression-based facial performance-capture technology at Sony Pictures Imageworks. This pioneering system enabled large-scale use of animation rig-based facial performance-capture for motion pictures, combining solutions for tracking, stabilization, solving and animator-controllable curve editing.To Nicholas Apostoloff and Geoff Wedig for the design and development of animation rig-based facial performance-capture systems at ImageMovers Digital and Digital Domain. These systems evolved through independent, then combined, efforts at two different studios, resulting in an artist-controllable, editable, scalable solution for the high-fidelity transfer of facial performances to convincing digital characters.To Kiran Bhat, Michael Koperwas, Brian Cantwell and Paige Warner for the design and development of the ILM facial performance-capture solving system. This system enables high-fidelity facial performance transfer from actors to digital characters in large-scale productions while retaining full artistic control, and integrates stable rig-based solving and the resolution of secondary detail in a controllable pipeline.