The 97th Academy Awards showcased a fascinating shift in cinematography trends, emphasizing the enduring dominance of film cameras over digital. With the Best Cinematography nominees featuring an array of legendary cameras, it is evident that celluloid remains at the heart of visual storytelling. Notably, the ARRICAM series led the charge, appearing in four out of the five nominated films. Meanwhile, the Beaumont VistaVision made a rare and exciting appearance, reinforcing the importance of large-format film in contemporary filmmaking. This article will delve deep into the cameras used in this year’s nominees, highlighting insights into the evolving preferences of top cinematographers.

Best Cinematography nominees: The list

These are the Best Cinematography nominees and their cameras and lenses, according to IndieWire’s camera survey: 

Oscar 2025- Camera Chart

Based on that list, explore the camera chart below: 

Discussion

Film Over Digital: The Cinematic Resurgence of Celluloid

For the first time in years, a majority of the nominees for Best Cinematography were shot primarily on film. The ARRICAM LT, ARRICAM ST, and ARRIFLEX 235 dominated the lineup, proving once again why these cameras are preferred for their superior image quality and reliability. Films such as The Brutalist, Maria, and Nosferatu embraced the organic texture of film, bringing a nostalgic and authentic feel to modern cinema. A surprising absence from the lineup was the ARRI ALEXA 35 and ARRI ALEXA Mini LF—two of the most widely used digital cinema cameras in Hollywood. Despite their popularity, this year’s nominations suggest that filmmakers are favoring traditional film formats over the digital aesthetic. This choice underscores a broader trend in the industry, where directors and cinematographers are striving for a more immersive, grainy, and tangible image quality.

The Beaumont VistaVision: A Hidden Gem

One of the most remarkable camera choices in this year’s lineup was the Beaumont VistaVision, used in The Brutalist. The Beaumont VistaVision camera is a lightweight motion picture system that records an image on a full 8-perforation 35mm film format. This format provides an exceptionally large negative, making it ideal for visual effects and high-resolution cinematic shots. The camera’s compact size also makes it advantageous for Steadicam and remote systems applications, allowing for dynamic and precise cinematography.

Beaumont VistaVision Specs:

• Length: 17″ with 400′ Magazine, 24″ with standard lens and MB-18 Matte Box
• Width: 14″ with 400′ Magazine, 20″ with 1000′ Magazine
• Height: 14″ with eyepiece, 9″ without eyepiece
• Speeds: 2-fps to 72-fps

The use of the Beaumont VistaVision in The Brutalist highlights the growing demand for large-format film, particularly in projects that require the highest image fidelity. This camera’s rare appearance in a major Hollywood production is a testament to its unparalleled image quality and versatility.

The Role of Kodak Super 8: A Nostalgic Touch

Another surprising entry in this year’s Oscar nominees was the Kodak Super 8 Camera (as a secondary camera), used in Maria. This marks a refreshing return to the distinctive aesthetic of Super 8 film, which is often associated with home movies and experimental filmmaking. The inclusion of Super 8 speaks to the growing trend of using vintage formats to add an organic and nostalgic texture to contemporary films. The use of Kodak Super 8 further reinforces the industry’s shift towards authenticity. As cinematographers continue to seek out unconventional methods to tell stories, expect to see more of these classic formats integrated into high-budget productions.

The Dominance of ARRICAM: Industry’s Workhorse

ARRICAM once again proved to be the industry standard, with The Brutalist, Maria, and Nosferatu all relying on its robust capabilities. ARRICAM has long been revered for its superior mechanical stability, image quality, and flexibility in both handheld and mounted configurations. The ARRIFLEX 416, another standout from this year’s nominees, was used in Maria. This Super 16mm camera has maintained a strong presence in the industry due to its lightweight design and ability to deliver crisp, high-contrast images that mimic the timeless quality of classic cinema.

What This Means for the Future of Cinematography

The 97th Academy Awards have provided a clear indication that film remains the gold standard for cinematography. As seen in The Brutalist, Maria, and Nosferatu, top-tier cinematographers continue to lean towards the grainier, more organic feel of celluloid rather than the clinical precision of digital cameras. Furthermore, the absence of ARRI ALEXA 35 and ARRI ALEXA Mini LF from this year’s nominees is particularly striking. Both of these cameras are extremely popular among cinematographers, yet they were not featured in any of the Best Cinematography-nominated films. This signals a potential shift away from digital formats, or at the very least, a diversification of choices that leans towards the artistic strengths of film. The use of vintage formats such as the Kodak Super 8 and the Beaumont VistaVision further illustrates a longing for cinematic textures that feel tangible, evocative, and timeless. With cinematographers continuing to push the boundaries of visual storytelling, we can expect more films to embrace these analog formats in future Oscar races. The resurgence of film over digital at the 97th Academy Awards marks a pivotal moment in modern cinematography. As directors and cinematographers strive for richer textures and unparalleled image quality, the industry continues to embrace the timeless artistry of celluloid. The cameras behind this year’s nominees prove that, despite technological advancements, traditional film remains the undisputed choice for visual storytelling at the highest level.

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