IndieWire has published its Cannes 2024 Cinematography Survey. We analyzed the data to explore (again and again) that the nine-year-old camera, ARRI ALEXA Mini, is the most popular camera among Cannes filmmakers. Furthermore, interestingly, in its first appearance on the Cannes Cinematography Chart and jumped straight to second place, is the ARRI 35.

Cannes 2024 cinematography

The 77th annual Cannes Film Festival is taking place from 14 to 25 May 2024. IndieWire has reached out to the filmmakers behind 59 films screened in various categories in the festival. The DPs elaborated on the tools they utilized to tell their stories. Read the entire survey here.

As the tradition calls, we took the data and filtered it to the cameras used, to explore tendency. Based on the info, we built a chart that demonstrates the segmentation between the camera models. Explore the list below:

1. ‘All We Imagine As Light’: Dir: Payal Kapadia DP: Ranabir Das. Camera: ARRI ALEXA Mini. Lenses: Cooke s4i
2. ‘Animale’: Dir: Emma Benestan, DP: Ruben Impens. Camera: RED V-Raptor. Lenses: Zeiss Supreme
3. ‘The Apprentice’: Dir: Ali Abbasi, DP: Kasper Tuxen. Camera: ARRI ALEXA 35. Lenses: Canon 8-64 Zoom, Zeiss 16mm primes, Panavision PV primes
4. ‘Armand’: Dir: Halfdan Ullmann Tøndel, DP: Pål Ulvik Rokseth. Camera: ARRIFLEX 416. Lenses: ARRI Master Primes
5. ‘The Balconettes’: Dir: Noémie Merlant DP: Evgenia Alexandrova. Camera: ARRI ALEXA 35. Lenses: PVintage, Zoom Angénieux Optimo 17-80mm, Zoom Angénieux Optimo 24-290mm
6. ‘Beating Hearts’: Dir: Gilles Lellouche, DP: Laurent Tangy. Camera: ARRI ALEXA LF, ARRI ALEXA Mini LF. Lenses: Minolta Rokkor / Caldwell Chameleon / Xelmus Apollo / Optimo Zoom
7. ‘Being Maria’: Dir: Jessica Palud, DP: Sebastien Buchmann. Camera: Sony VENICE 1. Lenses: Zeiss Standard Speed
8. ‘Bird’: Dir: Andrea Arnold, DP: Robbie Ryan. Camera: ARRIFLEX 416. Lenses: Ultra 16 Primes, Canon 10-180mm zoom
9. ‘Black Dog’. Dir: Hu Guan, DP: Gao Weizhe. Camera: ARRI ALEXA Mini. Lenses: Cooke Anamorphic/I, Zeiss MP
10. ‘Block Pass’: Dir: Antoine Chevrollier, DP: Benjamin Roux. Camera: ARRI ALEXA Mini. Lenses: Atlas Orion
11. ‘Christmas Eve in Miller’s Point’ Dir: Tyler Taormina, DP: Carson Lund. Camera: ARRI ALEXA Mini. Lenses: Hawke V-Lite Anamorphics (25mm, 50mm, 80mm) and Angenieux 25-250mm
12. ‘The Damned’: Dir: Roberto Minervini, DP: Carlos Alfonso Corral. Camera: ARRI ALEXA Mini LF. Lenses: Canon Rangefinder Primes TLS
13. ‘Desert of Namibia’: Dir: Yôko Yamanaka, DP: Shin Yonekura. Camera: Sony FX6. Lenses: Angeniuex EZ-1&EZ-2
14. ‘Dog on Trial’: Dir: Laetitia Dosch, DP: Alexis Kavyrchine. Camera: ARRI ALEXA Mini. Lenses: Zoom Optimo 16-40 & Zoom Optimo 28-76
15. ‘East of Noon’: Dir: Hala Elkoussy, DP: Abdelsalam Moussa. Camera: ARRIFLEX 416, ARRIFLEX 435, ARRI ALEXA Mini. Lenses: Ultra 16, Cooke S4/i
16. ‘Eat The Night’: Dirs: Caroline Poggi, Jonathan Vinel, DP: Raphael Vandenbussche. Camera: RED Gemini, RED Komodo. Lenses: Cooke S4/i
17. ‘Eephus’: Dir: Carson Lund, DP: Greg Tango. Camera: Sony VENICE 1. Lenses: ARRI Master Anamorphics
18. ‘Everybody Loves Touda’ Dir: Nabil Ayouch, DP: Virginie Surdej. Camera: ARRI ALEXA Mini LF. Lenses: ARRI Supreme Primes
19. ‘Filmlovers!’: Dir: Arnaud Desplechin, DP: Noé Bach. Camera: Sony VENICE 1. Lenses: Panavision Anamorphic E Series + zoom ATZ 70-20m
20. ‘Furiosa: A Mad Max Saga’: Dir: George Miller, DP: Simon Duggan, ASC, ACS. Camera: ARRI ALEXA 65. Lenses: ARRI Rental DNA Prime
21. ‘The Girl with the Needle’: Dir: Magnus von Horn, DP: Michał Dymek. Camera: ARRI ALEXA Mini LF. Lenses: Leitz HUGO
22. ‘Ghost Trail’: Dir: Jonathan Millet, DP: Olivier Boonjing SBC. Camera: Sony VENICE. Lenses: TLS Mamiya 645
23. ‘Good One’: Dir: India Donaldson, DP: Wilson. Camera: ARRI ALEXA Mini. Lenses: Zeiss Super Speeds, Angenieux Optimo 17-80
24. ‘Holy Cow’: Dir: Louise Courvoisier, DP: Elio Balezeaux. Camera: ARRI ALEXA Mini LF. Lenses: Lomo Roundfront Anamorphics
25. ‘Horizon: An American Saga’: Dir: Kevin Costner DP: J.Michael Muro. Camera: RED V-Raptor. Lenses: Leica Summilux
26. ‘In His Own Image’: Dir: Thierry de Peretti, DP: Josée Deshaies. Camera: ARRI ALEXA 35. Lenses: Summilux and Angénieux 25-290
27. ‘The Invasion’: Dir: Sergey Loznitsa, DP: Piotr Pawlus. Camera: Blackmagic Cinema Pocket 4K, ARRI ALEXA Classic. Lenses: Celere HS, Olympus Zuiko OM, Vivitar
28. ‘Kinds of Kindness’: Dir: Yorgos Lanthimos, DP: Robbie Ryan. Camera: ARRICAM ST. Lenses: Panavision Primo
29. ‘The Kingdom’: Dir: Julien Colonna, DP: Antoine Cormier. Camera: ARRI ALEXA 35. Lenses: Canon K35 25-120mm, Canon K35 Prime
30. ‘Limenov: The Ballad’: Dir: Kirill Serebrennikov, DP: Roman Vasyanov. Camera: Sony VENICE 1. Lenses: Tribe S7t
31. ‘Marcello Mio’: Dir: Christophe Honoré, DP: Rémy Chevrin. Camera: ARRI ALEXA 35. Lenses: Leica Summilux, Zoom Optimo 28-340
32. ‘Megalopolis’: Dir: Francis Ford Coppola, DP: Mihai Mălaimare Jr., ASC. Camera: ARRI ALEXA 65, ARRI ALEXA LF, ARRI ALEXA Mini LF. Lenses: Panavision Sphero 65 and Panavision Panaspeed
33. ‘My Sunshine’: Dir & DP: Hiroshi Okuyama. Camera: ARRI ALEXA Mini, ARRI Amira, BlackMagic Pocket Cinema Camera 4K. Lenses: ARRI Ultra Prime
34. ‘Niki: Dir: Céline Sallette, DP: Victor Seguin. Camera: Sony VENICE. Lenses: Panavision PVintage
35. ‘Norah’: Dir: Tawfik Alzaidi, DP: Shaun Harley Lee. Camera: ARRI ALEXA Mini. Lenses: ARRI Master Anamorphic Primes
36. ‘Oh Canada’: Dir: Paul Schrader, DP: Andrew Wonder. Camera: ARRI ALEXA 35, ARRI ALEXA Mini LF Monochrome. Lenses: TLS Wonderspeeds, ARRI Rental ALFA Anamorphics
37. ‘On Becoming a Guinea Fowl’: Dir: Rungano Nyoni, DP: David Gallego. Camera: ARRI ALEXA Mini. Lenses: Panavision P-Vintage
38. ‘An Ordinary Case’: Dir: Daniel Auteuil, DP: Jean Francois Hensgens. Camera: ARRI ALEXA 35. Lenses: Xelmus APOLLO
39. ‘The Other Way Around’: Dir: Jonás Trueba, DP: Santiago Racaj. Camera: ARRI ALEXA 35. Lenses: COOKE S4i + Cooke Zoom Varotal i FF 30-95mm
40. ‘Parthenope’: Dir: Paolo Sorrentino, DP: Daria D’Antonio. Camera: ARRI ALEXA 35. Lenses: ARRI Signature Primes
41. ‘Queens of Drama’: Dir: Alexis Langlois, DP: Marine Atlan. Camera: RED Gemini. Lenses: Technivision Zeiss Anamorphic, Angenieux 25 – 250
42. ‘Santosh’: Dir: Sandhya Suri, DP: Lennert Hillege. Camera: ARRI ALEXA Mini LF. Lenses: ARRI Signatures Primes
43. ‘Savanna and the Mountain’: Dir: Paulo Carneiro, DP: Duarte Domingos. Camera: ARRIFLEX SR3. Lenses: Canon 6.6-66mm, Zeiss Super Speed
44. ‘The Shameless’: Dir: Konstantin Bojanov, DP: Gabriel Lobos. Camera: ARRI ALEXA Mini. Lenses: ARRI Master Anamorphics
45. ‘Simon of the Mountain’: Dir: Federico Luis Tachella, DP: Marcos Hastrup. Camera: ARRI ALEXA Mini. Lenses: Zeiss Superspeeds
46. ‘September Says’: Dir: Ariane Labed, DP: Balthazar Lab. Camera: ARRICAM LT, ARRIFLEX 416, Canon EOS 3. Lenses: ARRI Master Primes, UP16
47. ‘The Story of Souleymane’: Dir: Boris Lojkine, DP: Tristan Galand. Camera: ARRI ALEXA Mini. Lenses: Zeiss Super Speed MkIII
48. ‘She’s Got No Name’: Dir: Peter Chan DP: Jake Pollock. Camera: ARRI ALEXA 35. Lenses: ARRI Signature Primes, Zeiss Planar, Petzval, Deakinizer
49. ‘Sister Midnight’: Dir: Karan Kandhari, DP: Sverre Sørdal. Camera: Panavision Millennium XL2. Lenses: Panavision Primos
50. ‘The Surfer’: Dir: Lorcan Finnegan, DP: Radek Ladczuk. Camera: ARRI ALEXA 35. Lenses: P-Vitage, Panavision Portrait 50mm, Zeiss 10 mm, Entaniya HAL 200 6.0mm Fisheye Lens
51. ‘This Life of Mine’: Dir: Sophie Fillières, DP: Emmanuelle Collinot. Sony VENICE 1. Lenses: ARRI Ultra Prime
52. ‘Three Kilometers to the End of the World’: Dir: Emanuel Parvu, DP: Stavila Silviu. Camera: ARRI ALEXA Mini LF. Lenses: Zeiss Supreme Prime
53. ‘To a Land Unknown’: Dir: Mahdi Fleifel, DP: Thodoras Mihopoulos. Camera: ARRIFLEX 416. Lenses: ARRI Ultra 16 Primes
54. ‘Universal Language’: Dir: Matthew Rankin, DP: Isabelle Stachtchenko. Camera: ARRIFLEX 416. Lenses: Zeiss Super Speeds
55. ‘Visiting Hours’: Dir: Patricia Mazuy, DP: Simon Beaufils. Camera:ARRI  ALEXA 35 Lenses: UltraScope
56. ‘The Village Next To Paradise’: Dir: Mo Harawe, DP: Mostafa El Kashef. Camera: ARRI ALEXA Mini. Lenses: Zeiss Ultra Primes
57. ‘Vivre, Mourir, Renaître’: Dir: Gaël Morel, DP: David Chambille. Camera: Sony VENICE 1. Lenses: Kowa Full Frame Primes
58. ‘When the Light Breaks’: Dir: Rúnar Rúnarsson, DP: Sophia Olsson. Camera: ARRIFLEX 416. Lenses: ARRI Ultra Primes, Angenieux 11.5-138mm
59. ‘Wild Diamond’: Dir: Agathe Riedinger, DP: Noé Bach. Camera: ARRI ALEXA Mini. Lenses: Atlas Orion, Zeiss Superspeed

Cannes 2024: Camera Chart

The Cannes Film Festival 2024 Camera Chart is based on the list above. Explore the chart below:

Discussion

Not surprisingly, the ARRI ALEXA Mini is the most popular camera five years in a row (from 2019 till now). Even our titles are the same! Read here and here. It seems that in the present time, the ALEXA Mini is even more popular due to its lower cost compared to previous years. The ARRI Mini was released in 2015, hence, it’s a 9-old-camera. Thus it’s much more affordable to be rented or purchased. That’s basically the reason filmmakers use it even more. The ALEV III never fails. Moreover, in previous years, the second most popular cameras were the Sony VENICE and the ARRI Mini LF. However, this year the 2nd place was taken by the new ARRI 35. It seems that DPs aren’t afraid to use this camera although it’s new, since it offers a superior image quality. It’s intriguing to note that in the ARRI’s survey, the ALEXA 35 surpassed the ALEXA Mini and stood at the 1st place. Nevertheless, in our chart, it appears in a solid spot between the ARRI Mini and the Mini LF. We guess that next year we’ll see it in 1st place as well. As for the other cameras, there’s not much news under the sun. Glad to see the Blackmagic Pocket 4K on the list. Finally, when looking at the Camera Manufacturers Chart, (see above) we see almost a complete domination of the ARRI brand. Let us know what you think about the Cannes 2024 Camera Chart.