Oscars 2024 Lenses: Panavision Rules
Oscars 2024 Lenses: Panavision Rules

Oscars 2024 Lenses: Panavision Rules

2024-02-13
3 mins read

Like we did with the cameras, now it’s the lenses’ turn. We made a chart with the lenses used to shoot the Oscars 2024 (96th Academy Awards) Best Picture and Cinematography nominees. The picture is clear. Panavision has no competition.

Oscars 2024: Lens manufacturers chart
Oscars 2024: Lens Manufacturers chart

There’s no real competition for Panavision. This company is doing something right. Although Panavision lenses can not be purchased (rental-only glass), acclaimed DPs just love the lenses, and the excellent Panavision service as well.

Oscars 2024: 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 the list below:

Best Picture nominees for Oscar 2024:

  1. “American Fiction”: DP:  Cristina Dunlap. Cameras: ARRI ALEXA Mini LF. Lenses: TRIBE7 BLACKWING7
  2. “Anatomy of a Fall”: DP: Simon Beaufils. Cameras: ARRI ALEXA Mini LF. Lenses:  Hawk V-Lite and Angenieux Optimo Lenses
  3. “Barbie”: DP: Rodrigo Prieto, ASC, AMC. Cameras: ARRI ALEXA 65. Lenses: Panavision 65 and Sphero 65 lenses.
  4. “The Holdovers”: DP: Eigil Bryld. Cameras: ARRI ALEXA Mini. Lenses: Panavision H Series, and Zeiss Super Speed
  5. “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
  6. “Maestro”: DP: Matthew Libatique. Cameras: Panaflex Millennium XL. Lenses: Panavision PVintage Lenses
  7. “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.
  8. ”Past Lives”: DP: Shabier Kirchner. Cameras: Panavision Millennium XL. Lenses: Panavision Primo, Panavision PVintage
  9. “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
  10. “The Zone of Interest”. DP:  Łukasz Żal. Cameras: Sony VENICE. Lenses:  Leitz M 0.8

Cinematography nominees for Oscar 2024:

  1. “El Conde”: DP: Edward Lachman, ASC. Cameras: ARRI ALEXA Mini LF Monochrome. Lenses: Zero Optik Ultra Baltar
  2. “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
  3. “Maestro”: DP: Matthew Libatique. Cameras: Panaflex Millennium XL. Lenses: Panavision PVintage Lenses
  4. “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.
  5. “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

Explore the slides below: 

"American Fiction”: DP:  Cristina Dunlap. Cameras: ARRI ALEXA Mini LF. Lenses: TRIBE7 BLACKWING7
“American Fiction”: DP: Cristina Dunlap. Cameras: ARRI ALEXA Mini LF. Lenses: TRIBE7 BLACKWING7
"The Zone of Interest”. DP:  Łukasz Żal. Cameras: Sony VENICE. Lenses:  Leitz M 0.8
“The Zone of Interest”. DP: Łukasz Żal. Cameras: Sony VENICE. Lenses: Leitz M 0.8
"Anatomy of a Fall”: DP: Simon Beaufils. Cameras: ARRI ALEXA Mini LF. Lenses:  Hawk V-Lite and Angenieux Optimo Lenses
“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.
“Barbie”: DP: Rodrigo Prieto, ASC, AMC. Cameras: ARRI ALEXA 65. Lenses: Panavision 65 and Sphero 65 lenses.
"El Conde”: DP: Edward Lachman, ASC. Cameras: ARRI ALEXA Mini LF Monochrome. Lenses: Zero Optik Ultra Baltar
“El Conde”: DP: Edward Lachman, ASC. Cameras: ARRI ALEXA Mini LF Monochrome. Lenses: Zero Optik Ultra Baltar
"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 Anamprphic
“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
“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
“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
”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
“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 Holdovers”: DP: Eigil Bryld. Cameras: ARRI ALEXA Mini. Lenses: Panavision H Series, and Zeiss Super Speed
“The Holdovers”: DP: Eigil Bryld. Cameras: ARRI ALEXA Mini. Lenses: Panavision H Series, and Zeiss Super Speed

Oscars 2024- Lenses Chart

As usual, based on that data, we built a chart showing the main lenses that shot the nominated films. Explore it below:

Oscars 2024: The Lenses Chart
Oscars 2024: The Lenses Chart

Closing thoughts

As you can see in the Lens Manufacturers Chart at the beginning of the article, there’s no real competition for Panavision. This company is doing something right. Although Panavision lenses can not be purchased (rental-only glass), acclaimed DPs just love the lenses, and the excellent Panavision service as well. In Panavision, it’s all about the service. Hence, the company rules the Oscars. For instance, explore the Lens Manufacturers Chart regarding Oscars 2023. Panavision is in the 1st place.

Oscars 2023: Lens manufacturers chart
Oscars 2023: Lens manufacturers chart

Nevertheless, in previous years we got more glass diversities (ARRI, Zeiss, Fujinon, Cooke) —explore the slide below:

The lenses behind Oscars 2022 vs. 2023
The lenses behind Oscars 2022 vs. 2023

However, in the 96th Academy Awards, it seems that top filmmakers picked a Pana-glass for the job, and of course, for zoom purposes, the mighty Angenieux Optimos were chosen.

If you are curious about the cameras of Oscars 2024, make sure to check out the segmentation in our article.

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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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