These are the cameras (and lenses) that were used to shoot 29 films that are contending of the 94th Academy Awards (Oscars 2022). The charts, schemes, and pictures were crafted by Y.M.Cinema Magazine and based on IndieWire’s cinematography survey. Explore them below.
Oscars 2022: Camera manufacturers Chart
The cameras that shot Oscars 2022’s contenders
As our tradition requires, we’re discussing again the tools that were used to make the most acclaimed films of 2022. In this article, you will find the cameras and lenses that shot the films that are contending for Oscars 2022 (94th Academy Awards) according to IndieWire’s survey. The list contains the major contenders (a total of 29 films). It’s important to note that the list is not divided for Best Cinematography or Best Picture as usual. However, the information below can indicate a certain segmentation that is further debated at the end of the article. Explore the slides below (movie poster+cameras+lenses):
“Being the Ricardos”: Dir- – Aaron Sorkin, DP – Jeff Cronenweth. Cameras – Red Ranger 8k VV. Lenses – ARRI DNA Primes“The Worst Person in the World”: Dir – Joachim Trier, DP – Kasper Tuxen. Cameras – ARRICAM LT. Lenses – Cooke 5/i“The Tragedy of Macbeth”: Dir – Joel Coen, DP – Bruno Delbonnel. Cameras – ARRI ALEXA L. Lenses – Cooke S7/i“Titane”. Dir – Julia Ducournau, DP – Ruben Impens. Cameras – ARRI ALEXA Mini LF. Lenses – ZEISS Supreme Prime“tick, tick… BOOM!”: Dir – Lin-Manuel Miranda, DP – Alice Brooks. Cameras – Panavision DXL 2. Lenses – Panavision Anamorphic G-Series“The Tender Bar”. Dir – George Clooney, DP – Martin Ruhe. Cameras – ARRI ALEXA Mini. Lenses – Angenieux Optimo Compact Zooms, Cooke S4/i“The Souvenir Part II”: Dir: Joanna Hogg, DP – David Raedeker. Cameras – ARRI 416, Sony VENICE. Lenses: ZEISS Super Speed, Canon Zooms“Spencer”: Dir – Pablo Larraín, DP – Claire Mathon. Cameras: ARRI 416; ARRICAM LT. Lenses – Leitz Summilux, ARRI Ultra Prime“Respect”. Dir – Liesl Tommy, DP – Kramer Morgenthau. Cameras – ARRI ALEXA Mini LF. Lenses – Panavision T-Series“Red Rocket”. Dir – Sean Baker, DP- Drew Daniels. Cameras – ARRI SR-3. Lens: Panavision Auto Panatar 1.44x Anamorphic, ZEISS Super Speeds“The Power of the Dog”: Dir – Jane Campion, DP – Ari Wegner. Cameras – ARRI ALEXA LF. Lenses – Panavision Ultra Panatar 1.3x Anamorphic“Pig”: Dir – Michael Sarnoski, DP – Pat Scola. Cameras – ARRI ALEXA Mini. Lenses: Panavision B-Series“Passing”: Dir – Rebecca Hall, DP – Edu Grau. Cameras – ARRI ALEXA Mini. Lenses: Lomo Anamorphic Round Front“No Time to Die”: Dir- Cary Joji Fukunaga, DP – Linus Sandgren. Cameras – Panavision XL2, IMAX MSM, Panavision System 65, ARRIFLEX 765. ARRIFLEX 435 and 235. Lenses – Panavision G-Series Anamorphic, IMAX Hasselblad“Nightmare Alley”: Dir – Guillermo del Toro, DP – Dan Laustsen. Cameras – ARRI ALEXA 65, ARRI ALEXA Mini LF. Lenses – Signature Prime“The Matrix Resurrections”: Dir – Lana Wachowsky, DP – Daniele Massaccesi and John Toll. Cameras – Red Ranger Helium, RED Komodo. Lenses – Panavision Panaspeed“The Lost Daughter”: Dir – Maggie Gyllenhaal, DP – Hélène Louvart. Cameras – ARRI ALEXA Mini. Lenses – Cooke S4/i“Licorice Pizza”: Dir – Paul Thomas Anderson, DP – Paul Thomas Anderson and Michael Bauman. Cameras – Panavision Millenium XL2. Lenses: – Panavision C Series“The Harder They Fall”: Dir – Jeymes Samuel, DP – Mihai Mălaimare Jr. Cameras – Panavision DXL2 and RED Monstro. Lenses – Panavision T Series, Panavision Panaspeed“The Hand of God”: Dir – Paolo Sorrentino, DP – Daria D’Antonio. Cameras – RED DSMC2 Monstro. Lenses – ARRI Signature Prime“The Green Knight”: Dir – David Lowrey, DP – Andrew Droz Palermo. Cameras – ARRI ALEXA 65. Lenses: ARRI DNA“The French Dispatch”: Dir – Wes Anderson, DP – Robert Yeoman. Cameras: ARRICAM ST; ARRICAM LT. Lenses – Cooke S4/i, ARRI Master Anamorphic“Dune”: Dir – Denis Villeneuve, DP – Greig Fraser. Cameras – ARRI ALEXA LF. Lenses – Panavision Ultra Vista Anamorphics, Panavision H Series Spherical“Drive My Car”: Dir – Ryusuke Hamaguchi, DP – Hidetoshi Shinomiya. Cameras: ARRI ALEXA Mini. Lenses – ARRI Ultra Prime, Angenieux HR Zoom“Cyrano”: Dir – Joe Wright, DP – Seamus McGarvey. Cameras – ARRI ALEXA LF, ARRI ALEXA Mini LF. Lenses – Leitz Primes; Leitz 25-75mm Zoom; Angenieux Optimo Zoom 24-435mm“C’mon C’mon”: Dir – Mike Mills, DP – Robbie Ryan. Cameras – ARRI ALEXA Mini. Lenses – Panavision Primos“CODA”: Dir – Sian Heder, DP – Paula Huidobro. Cameras – Sony VENICE. Lenses – ARRI Signature Primes“Bergman Island”: Dir – Mia Hansen-Løve, DP – Denis Lenoir. Cameras -: ARRICAM Lite. Lenses – Leitz Summilux Prime; Fujinon Premier Zoom“Belfast”: Dir – Kenneth Branagh, DP – Haris Zambarloukos. Cameras – ARRI ALEXA Mini LF. Lenses – Panavision 65mm, System 65, and Sphero lenses
Oscars 2022: Camera Chart
Explore the simplified camera chart based on the data above. Credit: Y.M.Cinema Magazine.
Oscars 2022: Camera Chart. Image: Y.M.Cinema Magazine
Discussion
ARRI (still) dominates with its compact machines
We’ll try to analyze to data further. However, from a few first sights, it seems that the ARRI ALEXA Mini is still a very popular choice among elite cinematographers, even though it owns ‘only’ Super 35 sensor. Many DPs prefer this smaller sensor instead of the larger sensors that other camera manufacturers offer. For those who are eager for large format cinematography, there’s the obvious choice of the ARRI Mini LF, which is in the ‘second’ place. As we’ve seen in the IMAX chart, a well-liked combo is the Mini LF+ LF in order to shoot for an IMAX screen, or when the director and DP insist on shooting a large format. Indeed, the ALEXA LF is in the ‘fourth’ place in this Oscars survey which strengthens this assumption.
Film cameras are (still) in the game
Surprisedly (or not), many chose film stock to tell their story. The ARRICAM is the most desired film camera on that list.Celluloid cinematographers also chose the ARRI 416 and the mighty Panavision film cameras to shoot their movies. Furthermore, there’s a solid list of film cameras that were not inserted into the chart, like IMAX MSM, ARRIFLEX 765, ARRIFLEX 435 and 235, and ARRI SR-3. Indeed, film is not dead, but alive and kicking, which is a very good sign to our industry.
RED Ranger works up the ladder
According to the data, RED Digital Cinema is the third camera manufacturer on the Oscars 2022 list. It appears that DPs prefer the Rangers as a more concentrated package compared to the DSMC2. It will be intriguing to reveal how the Ranger version of the Raptor will fit here, and how it will be utilized by acclaimed cinematographers. One of the main advantages of RED cameras is the ecosystem. For instance, the RED Komodo is the perfect crash-cam to be paired with the Ranger, and that’s a huge plus. ARRI should consider making its own crash-cam. Just to make it clear, the term ‘crash-cam’ indicates a very compact and affordable camera that can match the other cinema cameras in the production. The crash cam is the camera DP can break. For instance, the RED Komodo is being extensively used on FPV drones (Cinema FPV), near explosions, and in dangerous places. The Komodo outputs the same codec as the more expensive DSMC2, hence, can be matched easily.Imagine a compact and affordable ARRI that can shoot ARRIRAW but cost a fraction of the ALEXA….
Summary
Generally speaking, there’s no news under the sun. ARRI continues to dominate the Oscars with its film and digital cameras. The Sony VENICE breaths down ARRI’s neck and RED cameras have a bit more presence compared to previous years. Personally, I wish to explore more cameras in that list, however, there’s only a tiny chance that this will happen. When budget is not a factor, DPs will prefer the most expensive machines they can get.
Yossy is a filmmaker who specializes mainly in action sports cinematography. Yossy also lectures about the art of independent filmmaking in leading educational institutes, academic programs, and festivals, and his independent films have garnered international awards and recognition.
Yossy is the founder of Y.M.Cinema Magazine.
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aside from the little financial editorial comment at the end, an informative article.
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