In continuation to our camera survey, here’re the lenses that used to shoot Oscar 2021 (93rd Academy Awards) Best Picture and Cinematography nominees. How is it compared to Oscar 2020? Find out below.
The glass of Oscar 2021
Generally speaking, we’ve found the current Oscar (93rd Academy Award) is characterized by a reduced diversity compared to Oscar 2020. When we say: “reduced diversity” it applies to both cameras and lenses. For instance, explore the cameras behind Oscar 2020, vs. cameras of Oscar 2021. You’ll notice a significant reduction in variety. For example, film cameras were almost completely absent from this year Oscar (except the Aaton). It’s true for the lenses being utilized as well. For instance, the lenses being used in Oscar 2021 are Zeiss Supreme, ARRI DNA, LEICA Summilux C, Panavision P Vintage, ARRI Ultra Prime, Panavision G-Series Anamorphic, Sigma Cine, Panavision Anamorphic C, Panavision Anamorphic T, Canon K 35, and Panavision Sphero 65. That’s a shortlist.
Explore the breakdown below.
Oscar 2021: Best Picture and Cinematography nominees
Here are the announced nominees for the Best Picture and Cinematography categories. DP (Director of Photography), cameras, and lenses added.
Best Picture
- “The Father” (Sony Pictures Classics): DP Ben Smithard. Cameras: Sony VENICE. Lenses: Zeiss Supreme
- “Judas and the Black Messiah” (Warner Bros.): DP Sean Bobbitt. Cameras: ARRI ALEXA LF and Mini LF. Lenses: ARRI DNA
- “Mank” (Netflix): DP: Erik Messerschmidt, ASC. Cameras: RED Ranger HELIUM Monochrome. Lenses: LEICA Summilux C
- “Minari” (A24): DP Lachlan Milne. Cameras: ARRI ALEXA Mini. Lenses: Panavision P Vintage
- “Nomadland” (Searchlight Pictures): DP Joshua James Richards. Cameras: ARRI ALEXA Mini, AMIRA. Lenses: ARRI Ultra Prime
- “Promising Young Woman” (Focus Features): DP: Benjamin Kracun. Cameras: ARRI ALEXA Mini. Lenses: Panavision G-Series Anamorphic
- “Sound of Metal” (Amazon Studios): DP Daniël Bouquet. Cameras: Aaton Penelope. Lenses: Sigma Cine
- “The Trial of the Chicago 7” (Netflix): DP: Phedon Papamichael, ASC, GSC. Cameras: ARRI ALEXA Mini LF. Lenses: Panavision Anamorphic C and T-Series, Canon K 35
Best Cinematography
- “Judas and the Black Messiah” (Warner Bros.): DP Sean Bobbitt. Cameras: ARRI ALEXA LF and Mini LF. Lenses: ARRI DNA
- “Mank” (Netflix): DP: Erik Messerschmidt, ASC. Cameras: RED Ranger HELIUM Monochrome. Lenses: LEICA Summilux C
- “News of the World” Dariusz Wolski: DP: Dariusz Wolski, ASC. Cameras: ARRI ALEXA LF, Mini LF. Lenses: Panavision Sphero 65
- “Nomadland” (Searchlight Pictures): DP Joshua James Richards. Cameras: ARRI ALEXA Mini, AMIRA. Lenses: ARRI Ultra Prime
- “The Trial of the Chicago 7” (Netflix): DP: Phedon Papamichael, ASC, GSC. Cameras: ARRI ALEXA Mini LF. Lenses: Panavision Anamorphic C and T-Series, Canon K 35
Cameras and lenses
Check out the slides below which show the cameras and lenses for each nominee.
Oscar 2021: 93rd Academy Awards nominees – Lens Manufacturers Chart
Explore the chart below, based on that data. Credit: Y.M.Cinema Magazine.
Discussion
As explained, the diversity of the lenses is reduced compared to previous Oscars. As always, Panavision takes the lead. This company is the most dominant lens manufacturer in almost every Oscar, and its glass rules, especially in Hollywood. Another interesting finding is the absence of the “Cooke Look” from that list. According to the data, there’s not even one nominee (in the Best Cinematography and Picture categories) that utilized Cooke lenses, which is pretty weird, since Cooke is a very well-accepted glass in high-end productions. On the other hand, let’s not forget that due to COVID, those movies didn’t get the screening they deserve, because theaters were closed. Thus, the shooting was done to meet the standards of the streaming services. That might be the cause for the low diversity regarding cameras, and their paired lenses as well.
What do you think about those claims? In your opinion, the reduction in diversity is an outcome of COVID? Let’s know your thoughts in the comments section below.
