Cinematic cameras and lenses used in the filming of Oscar-winning films can be found in this topic. Each January, the US online magazine Indiewire publishes interviews with distinguished cinematographers about the cameras and lenses they chose to win one of the most prestigious awards at the 94th Academy Awards.
When shooting a feature film in Hollywood we usually see ARRI in movie cameras, but not always.
If you're a cinematographer at a major Hollywood production, budget is usually not the determining factor in choosing the best camera. Your vision (and that of the director) should be the guiding factor when it comes to choosing one camera over another.
The 94 contenders for the Oscars - Camera and Lens Choices
Here are some examples of the choices many Hollywood filmmakers have made to achieve the look they want:
“Dune” directed by: Denis Villeneuve // DoP: Greig Fraser
- Format: Large format digital anamorphic and open gate spherical
- Camera: ARRI ALEXA
- LFLens: Panavision Ultra Vista Anamorphics; Panavision H Series Aspherical Spherical
According to DP Greig Fraser, director of photography, the team tested both digital and film cameras to get just the right look. Although the classic movie seemed to feel nostalgic, Alexa's digital photos felt somewhat digital. The solution was to combine the digital camera with old glass (Panavision H series) and the slightly newer Ultra Vista Anamorphics.
Classic film cameras are not as dead as they seem! Yeoman stated that he and director Wes Anderson already used Cooke S4s in “The Grand Budapest Hotel” and both fell in love with the look so they continued using it for this project as well.
Regarding Master Anamorphics, Yeoman mentions that it was necessary to be able to focus on the actors even at the edge of the frame, so he went with these advanced anamorphics.
According to Daniel Masakisi, the team preferred to "find a new look, to create a Matrix reality that looks more realistic than reality itself." But with the original "The Matrix" movie skipping over 20 years, things have clearly changed, and since the franchise has always been a visual challenge, this latest movie is no exception.
“The French Dispatch” Director: Wes Anderson // Director of Photography: Robert Yeoman
- Format: 35mm film; 5213 for colour, 5222 for black and white;
- Camera: ArriCam ST; ArriCam LT
- Lenses: Cooke S4 for spherical sequences 1.37; Arriflex Master anaformic image of the 2.40 anaformic sequence.
Classic film cameras are not as dead as they seem! Yeoman stated that he and director Wes Anderson already used Cooke S4s in “The Grand Budapest Hotel” and both fell in love with the look so they continued using it for this project as well.
Regarding Master Anamorphics, Yeoman mentions that it was necessary to be able to focus on the actors even at the edge of the frame, so he went with these advanced anamorphics.
“The Matrix Resurrections” Director: Lana Wachowsky // Director of Photography: Daniele Massaccesi and John Toll
- Format: 4K
- Camera: RED Ranger
- Lenses: Panavision
According to Daniel Masakisi, the team preferred to "find a new look, to create a Matrix reality that looks more realistic than reality itself." But with the original "The Matrix" movie skipping over 20 years, things have clearly changed, and since the franchise has always been a visual challenge, this latest movie is no exception.
“The Green Knight” Director: David Lowery // Director of Photography: Andrew Drews Palermo
- Format: ArriRaw Opengate 6.5K
- Camera: ARRI Alexa 65
- Lenses: Arri DNA
“CODA” directed by: Sian Heder // Director of Photography: Paula Huidobro
- Format: Sony VENICE 6k
- Camera: Sony VENICE Sony VENICE
- Lenses: Arri Signature LF primimes
“The Hand of God” Director: Paolo Sorrentino // Director of Photography: Daria D Antonio
- Format: 8K HD Redcode Raw
- Camera: RED DSMC2 Monstro
- Lens: Arri Signature Prime lenses
No Time to Die Director: Cary Joji Fukunaga // Director of Photography: Linus Sandgren
- Format: 35mm anamorphic 4-perf; IMAX 70mm 15-perf; 65mm 5-perf
- Camera: Panavision XL2; IMAX MSM; IMAX MKIV; Panavision System 65; Arri 765; Arri 435; Arri 235
- Lens: Panavision G-series anamorphic; IMAX Hasselblad
Of course, this is just a short excerpt from the full list on Indiewire, and you can go back to the original article to check out the rest of the cameras.
Always favourite, ARRI cinema cameras?
Many DPs rely on ARRI cinema cameras for their films, either using one of the many ALEXA variants or shooting with older but still lively film cameras like the ArriCam ST & LT. But RED movie cameras are also in the action, especially with the introduction of the Ranger camera, the company seems to be attracting the attention of some cinematographers in the production of feature films.
But the list also includes large and heavy Panavision systems and even IMAX systems. For movies where money is no object, it's really about the look and feel, not how much is spent.
But the list also includes large and heavy Panavision systems and even IMAX systems. For movies where money is no object, it's really about the look and feel, not how much is spent.
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