Now, that we have the list of nominees, we can explore the cameras and lenses that shot Best Picture and Cinematography contenders for the 96th Academy Awards. There’s a solid presence of film cameras, and also, nice seeing IMAX film on that list.
96th Academy Awards: Camera Manufacturers chart
96th Academy Awards’ nominees: Cameras & Lenses
Here’s the final list of the Oscars 2024 (96th Academy Awards) Best Picture and Cinematography nominees. Instead of a dull list, we created slides showing the movie poster and the cameras and lenses that shot the movie. Underneath the slides, there’s the description, plus the DP (Director of Photography) that shot the movie. Explore them below:
Best Picture nominees for Oscar 2024
“American Fiction”: DP: Cristina Dunlap. Cameras: ARRI ALEXA Mini LF. Lenses: TRIBE7 BLACKWING7“Anatomy of a Fall”: DP: Simon Beaufils. Cameras: ARRI ALEXA Mini LF. Lenses: Hawk V-Lite and Angenieux Optimo Lenses“Barbie”: DP: Rodrigo Prieto, ASC, AMC. Cameras: ARRI ALEXA 65. Lenses: Panavision 65 and Sphero 65 lenses.“The Holdovers”: DP: Eigil Bryld. Cameras: ARRI ALEXA Mini. Lenses: Panavision H Series, and Zeiss Super Speed“Killers of the Flower Moon”: DP: Rodrigo Prieto, ASC, AMC. Cameras: ARRICAM ST, ARRICAM LT, Sony VENICE, 1917 Bell and Howell. Lenses: Modified T Series Anamorphic, and Petzval Anamorphic“Maestro”: DP: Matthew Libatique. Cameras: Panaflex Millennium XL. Lenses: Panavision PVintage Lenses“Oppenheimer”: DP: Hoyte van Hoytema. Cameras: IMAX9802 (IMAX film cameras), Panavision Panaflex System 65 Studio. Lenses: Panavision Sphero and System 65 lenses, and IMAX modified (by Panavision) snorkel lens”Past Lives”: DP: Shabier Kirchner. Cameras: Panavision Millennium XL. Lenses: Panavision Primo, Panavision PVintage“Poor Things”: DP: Robbie Ryan, BSC, ISC. Cameras: ARRICAM LT/ST. Lenses: Optex Super Cine, ARRI/Zeiss Master Zoom, ARRI Ultra Prime, TLS Petzval, Angenieux Optimo Lenses“The Zone of Interest”. DP: Łukasz Żal. Cameras: Sony VENICE. Lenses: Leitz M 0.8
Cinematography nominees for Oscar 2024
“El Conde”: DP: Edward Lachman, ASC. Cameras: ARRI ALEXA Mini LF Monochrome. Lenses: Zero Optik Ultra Baltar“Oppenheimer”: DP: Hoyte van Hoytema. Cameras: IMAX9802 (IMAX film cameras), Panavision Panaflex System 65 Studio. Lenses: Panavision Sphero and System 65 lenses, and IMAX modified (by Panavision) snorkel lens“Killers of the Flower Moon”: DP: Rodrigo Prieto, ASC, AMC. Cameras: ARRICAM ST, ARRICAM LT, Sony VENICE, 1917 Bell and Howell. Lenses: Modified T Series Anamorphic, and Petzval Anamorphic“Maestro”: DP: Matthew Libatique. Cameras: Panaflex Millennium XL. Lenses: Panavision PVintage Lenses
Oscar 2024- Camera Chart (updated)
As usual, based on that data, we built a chart showing the main cameras that shot the nominated films. Explore it below (Scorsese’s 1917 Bell and Howell was excluded from the chart):
96th Academy Awards: The Camera Chart. Credit: Y.M.Cinema Magazine
Basically, there’s no news under the sun. It’s nice to see IMAX on that list (both for Best Picture and Cinematography). But as usual, ARRI leads and VENICE on its six. We’ll discuss this further in a dedicated article. Let us know your thoughts about it.
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.
Thank, these are very interesting to say the least, but there is a huge fallacy in your comparisons. That said when it comes to film cameras, some of the choices made are because of the glass that they would like to use, but also the film stocks need to be mentioned if comparing to digital cinema cameras. Albeit I am currently uniformed on what stocks are still available. So it would be ultimately more interesting to know the compete picture.
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Thank, these are very interesting to say the least, but there is a huge fallacy in your comparisons. That said when it comes to film cameras, some of the choices made are because of the glass that they would like to use, but also the film stocks need to be mentioned if comparing to digital cinema cameras. Albeit I am currently uniformed on what stocks are still available. So it would be ultimately more interesting to know the compete picture.
no arri alexa 35?
Not yet. Maybe next year.
Many panavision lenses, what are their main qualities?