Thanks to IndieWire, its fascinating survey clearly shows us the domination of the large sensors, over the well-respected and traditional Super 35mm format. We analyzed the data and make a chart that demonstrates the most used cameras that shot Emmy 2021’s Outstanding Cinematography nominees. Top cameras include ARRI (LF, Mini, and Mini LF), Sony VENICE, RED Monstro, and even Sony mirrorless. According to findings, can S35 be defined as obsolete? 

Emmy 2021: 73rd Awards

The 73rd Primetime Emmy Awards will honor the best in U.S. prime time television programming from June 1, 2020, until May 31, 2021, as chosen by the Academy of Television Arts & Sciences. The ceremony will be held on September 19, 2021, at the Event Deck at L.A. Live in Downtown Los Angeles, California, and broadcast in the U.S. by CBS and Paramount+. As the tradition calls, IndieWire has reached the directors of photography that shot the nominated films in the category of Outstanding Cinematography. We analyzed the data to create a chart in order to shed light on the popularity rate of the chosen camera companies and models. Here is the list.

Note: In case you are eager to dive deeper into the making, head to IndieWire’s article which elaborates on their codecs, as well as the methodologies used on each project. 

Projects, cameras, and lenses

Outstanding Cinematography for a Single-Camera Series (Half-Hour):

1. “Grown-ish”: DP: Mark Doering-Powell. Camera: ARRI Mini. Lens: Leica Summilux-C
2. “Hacks”: DP: Adam Bricker. Camera: Panavision Millennium DXL2. Lens: Panavision Primo 70
3. “Made for Love”: DP: Nathaniel Goodman. Camera: ARRI ALEXA Mini, Sony a7iii. Lens: ARRI Master Anamorphic, Sigma Cine T1.5’s, Angienieux Optimo Anamorphic, Nikkor Primes 
4. “The Mandalorian”: DP: Matthew Jensen. Camera: ARRI ALEXA LF. Lens: Panavision UltraVista Anamorphic
5. “Servant”: DP: Marshall Adams. Camera: ARRI ALEXA Mini LF Lens: Panavision Panaspeed

Outstanding Cinematography for a Single-Camera Series (One Hour):

1. “Bridgerton”: DP: Jeffrey Jur. Camera: Sony VENICE. Lens: ARRI Signature Prime
2. “The Crown” DP: Adriano Goldman. Camera: Sony VENICE. Lens: Zeiss Super Speed
3. “Euphoria”: DP: Marcell Rév. Camera: ARRICAM LT. Lens: Kowa Cine Prominar, Cooke S4, Zeiss Super Speeds
4. “Lovecraft Country”: DP: Tat Radcliffe. Camera: ARRI ALEXA LF. Lens: Panavision H
5. “The Mandalorian”: DP: Baz Idoine. Camera: ARRI ALEXA LF. Lens: Panavision Ultra Vista Anamorphic
6. “Perry Mason”: DP: David Franco. Camera: Sony VENICE. Lens: Panavision T
7. “The Umbrella Academy”: DP: Neville Kidd. Camera: ARRI ALEXA 65, ARRI ALEXA LF. Lens: Zeiss Supreme

Outstanding Cinematography for a Limited or Anthology Series or Movie:

1. “Fargo”: DP: Dana Gonzales. Camera: ARRI ALEXA Mini. Lens: Zeiss Radiance
2. “Mare of Easttown”: DP: Ben Richardson. Camera: ARRI ALEXA Mini. Lens: Leitz Summilux-C
3. “The Queen’s Gambit”: DP: Steven Meizler. Camera: RED Ranger Monstro. Lens: Zoe’s Supreme Prime
4. “The Underground Railroad”: DP: James Laxton. Camera: ARRI LF, ARRI Mini LF. Lens: Panavision Primo 70, Panavision T

Emmy 2021 Camera Chart

Explore the chart below that is based on that data. Press the chart in order to view it in full resolution:

Discussion

First, it must be noted that one should take this info with a grain of salt since this survey depends on the free will of the DPs to share the cinematography process behind each project. However, the goal is just to show a general tendency. For instance, in Emmy 2020, the Sony VENICE has led the way. This time, ARRI stars with its LF. Nevertheless, it fewer matters. More importantly, is the vast usage of large format cinematography. There’s a significant inclination toward full-frame imagery. For instance, VENICE 6K, ARRI LF, and Mini LF, the Vista Vision Monstro sensor (RED Ranger and Panavision DXL2), and of course the huge sensor of the ALEXA 65. All of them are meant to grant large format with all its glory. In fact, the only camera that preserves its place among those large sensors is the ALEXA Mini, which is the weapon of choice of many S35 shooters. Can it be concluded that the ARRI Mini is the last Super 35mm dinosaur? Just throwing a thought. Feel free to throw yours in the comments section below.