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.

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):

Oscars 2022: Camera Chart

Explore the simplified camera chart based on the data above. Credit: 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.