Here are the cameras and lenses behind eight feature films nominated for the 34th ASC awards regarding the Theatrical and Spotlight categories.
ASC Awards: A celebration for cinematographers
The ASC Outstanding Achievement Awards is cinematography’s biggest event, celebrating the most exceptional work of the year regarding the excellence in motion-picture imaging for feature films, television, and documentaries. Of course, we have the Academy Awards (aka Oscar). However, the ASC Awards is dedicated to cinematographers. We all remember last year Oscar ceremony with the absurd attempt to exclude the Best Cinematography Awards from being broadcast, as opposed to the ASC Awards which is from cinematographers to cinematographers.
Eight feature film nominees
There are eight feature film nominees in total. Five nominees in the Theatrical Release category and three nominees in the Spotlight Award category. The Spotlight Award recognizes cinematography in features that may not receive a wide theatrical release. This award was first presented in 2014 to Żal and Ryszard Lenczewski for Ida, which won the Oscar for Best Foreign Language Film. The Theatrical list includes two ASC veterans – Roger Deakins for 1917 with his 16th nomination from the group, and Robert Richardson, with his 11th nomination, for Quentin Tarantino’s Once Upon a Time in Hollywood. By the way, “Joker” cinematographer Lawrence Sher is a first-time nominee. The prediction is that 1917 will win. We wrote a couple of articles regarding 1917 and what makes this film so unique from a cinematography point of view. Furthermore, Jarin Blaschke (“The Lighthouse”), Natasha Braier (“Honey Boy”), and Jasper Wolf (“Monos”) will be honored with the Spotlight Award.
Cameras and lenses behind the 34th Feature Film Awards nominees
“Once Upon a Time in Hollywood”
- Robert Richardson, ASC
- Camera: Panavision Panaflex Millennium XL2, Aaton A-Minima, Arriflex 435
- Lens: Panavision Anamorphic – E, C, T series, Cooke Varotal
“The Irishman”
- Rodrigo Prieto, ASC, AMC
- Cameras: ARRICAM ST, ARRICAM LT, ALEXA Mini, RED Helium
- Lens: Cooke Panchro/i Classics Lenses and ARRI Ultra Prime
“Joker”
- Lawrence Sher, ASC
- Cameras: ALEXA 65, ALEXA LF, ALEXA Mini
- Lens: ARRI DNA
“1917”
- Roger Deakins, ASC, BSC
- Camera: ARRI ALEXA Mini LF
- Lens: Signature Primes
“Ford v Ferrari”
- Phedon Papamichael, ASC, GSC
- Camera: ARRI Alexa LF
- Lens: Panavision Anamorphic lenses: C-Series and T-Series
“Honey Boy”
- Natasha Braier, ASC, ADF
- Camera: ARRI Alexa Mini
- Lens: XTal Express anamorphic lenses
Monos
- Jasper Wolf, NSC
- Camera: ARRI ALEXA Mini
- Lenses: Hawk Vantage One Lenses T1, Angenieux Zoom 24-290mm T2.8
“The Lighthouse”
- Jarin Blaschke
- Camera: Panaflex Millenium XL2
- Lens: Bausch and Lomb Original Baltars
Discussion
The dominant camera is ARRI with all its variations (Super 35, large format, 65, and film). The most intriguing nominee is “The Irishman” which includes a combination of ARRI and RED that is not very common. Moreover, film cameras also have a decent presence, granted by the Panavision XL2. Furthermore, there is a broad diversity regarding the glass. There are rare lenses on that list (B&L Baltar and Cooke Varotal, for instance). Using those unconventional cinematography tools indicates creative courage and out of the box thinking as a DP.
The 34th Annual ASC Awards ceremony takes place on Saturday, January 25. Make a bet! Who will win, and who should win?
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