At YMCinema, tracking the cameras behind major film festivals and awards has become a long-standing editorial tradition. Each year, these lists reveal far more than technical preferences. They quietly expose where cinematic confidence truly lives. The 83rd Golden Globe Awards nominees deliver one of the clearest signals yet. Modern digital dominance does not mean the disappearance of film. And innovation does not always mean chasing larger sensors. Read on. 

The Camera that shot the 83rd Golden Globe Awards’ nominees

Best Motion Picture. Drama

Frankenstein
Shot on ARRI ALEXA 65 and RED V Raptor XL

Hamnet
Shot on ARRI ALEXA 35

It Was Just an Accident
Shot on ARRI ALEXA Mini and RED Komodo

Sentimental Value
Shot on ARRICAM LT and ARRIFLEX 435

Sinners
Shot on IMAX and Panavision 65

The Secret Agent
Shot on ARRI ALEXA 35 and ARRI ALEXA Mini

Best Motion Picture. Musical or Comedy

Blue Moon
Shot on ARRI ALEXA 35

Bugonia
Shot on ARRICAM ST, ARRIFLEX 235, ARRIFLEX 435

Marty Supreme
Shot on ARRICAM LT, ARRICAM ST, ARRIFLEX 416

No Other Choice
Shot on ARRI ALEXA 35

Nouvelle Vague
Shot on ARRICAM LT, ARRIFLEX 35 IIC, Sony VENICE

One Battle After Another
Shot on Beaumont VistaVision and Panavision Panaflex Millennium XL2

Best Motion Picture. Non-English Language

It Was Just an Accident
Shot on ARRI ALEXA Mini and RED Komodo

No Other Choice
Shot on ARRI ALEXA 35

Sentimental Value
Shot on ARRICAM LT and ARRIFLEX 435

Sirāt
Shot on 16 millimeter Bolex

The Secret Agent
Shot on ARRI ALEXA 35 and ARRI ALEXA Mini

The Camera Chart

The ALEXA 35 is the quiet king

Looking across all categories, one camera stands above the rest. ARRI ALEXA 35 appears again and again, across drama, comedy, and international cinema. This is not accidental. Despite being a Super 35 camera in an era obsessed with large format sensors, ALEXA 35 has become the industry’s most trusted digital workhorse. Its success reinforces a long-held truth. Image quality is not defined by sensor size alone. Dynamic range, color science, highlight roll off, and reliability on set matter more than headline specs. This echoes what we saw in previous years, as documented in The Cameras That Shot 2023 Golden Globe Winners. The pattern has not shifted. If anything, it has intensified.

Film cameras still rule where it matters most

Perhaps the most striking takeaway from this year’s nominees is the overwhelming presence of film cameras. ARRICAM LT, ARRICAM ST, ARRIFLEX 435, ARRIFLEX 416, ARRIFLEX 235, VistaVision, Panavision 65, and even 16 millimeter Bolex all appear across major categories. It is intentional! Film continues to deliver texture, motion cadence, and highlight behavior that many directors and cinematographers still prefer for emotionally driven storytelling. We have seen this before. The Cameras That Shot 78th Golden Globe Awards Nominees showed a similar reliance on analog capture, long before film’s so-called comeback became fashionable again.

RED Komodo’s strategic role

RED Komodo appears modest on paper, but its presence is significant. Appearing in multiple categories alongside ARRI systems, Komodo represents a new class of compact, production friendly digital cameras that integrate seamlessly into high end workflows. It is rarely used as a primary camera on prestige productions. Instead, it shines as a flexible companion. Handheld sequences, confined spaces, car rigs, and documentary style inserts are where Komodo proves its value. Its inclusion in Golden Globe-level films confirms its professional legitimacy. This mirrors trends we highlighted years ago in The Cameras Behind the 77th Golden Globe Awards, where smaller digital systems quietly entered elite productions.

What this year really says about cinema

The 83rd Golden Globe Awards nominees tell a clear story. Cinema is not chasing novelty but is refining trust. ARRI ALEXA 35 dominates not because it is the newest or largest, but because it consistently delivers. Film cameras persist not out of sentimentality, but because they still serve the emotional language of cinema better than any digital replacement. And RED Komodo’s steady rise reminds us that innovation today is about integration, not disruption. At YMCinema, this is exactly why we continue this tradition. Awards seasons are not about winners alone but about patterns. And this year’s pattern is unmistakable. The future of cinema looks surprisingly familiar.