The Cannes 2024 Camera Chart demonstrates a very intriguing fact. Most of the cameras used to shoot the films have Super 35 sensors. Hence, filmmakers chose Super 35 over the large format. The dominant cameras are the ARRI ALEXA Mini, ARRI 35, Sony VENICE, and the ARRI Mini LF. But the majority of DPs chose to shoot with the Mini and 35 over the Mini LF and VENICE. That proves that the Super 35 format is still the gold standard. 

Cannes 2024’s cameras: Large format vs. Super 35

Our Cannes Film Festival 2024 Camera Chat (derived from the IndieWire survey) demonstrates some interesting tendencies regarding the format chosen to shoot the selected films. Although there’s an elevated eagerness to shoot large formats, it appears that most DPs pick smaller sensors. The dominant Cannes 2024 cameras are ARRI ALEXA 35, ARRI ALEXA Mini, ARRI ALEXA Mini LF, and Sony VENICE. There are less popular cameras (by Cannes 2024’s filmmakers) like the RED Gemini, ARRI ALEXA 65, ARRI ALEXA LF, RED V-Raptor, and even the Blackmagic Pocket Cinema Camera 4K. But the majority is Super 35. Have a look at the chart below:

Based on the chart, explore the slide below showing the segmentation of Large Format vs. Super 35 in Cannes 2024:

It’s because of the ARRI 35 and the Mini

There are two main reasons for the elevation of Super 35 over Large Format: The first is ARRI ALEXA 35. The 2nd is the ARRI ALEXA Mini. Let’s explain. Creative filmmakers wanted to shoot with the ARRI 35 because of its unprecedented image quality. The ALEV 4, the most advanced sensor to date, offers extremely beautiful and precise imagery and high dynamic range. Filmmakers know that you can’t lose with the ARRI 35. Additionally, the ARRI 35 caused to price reduction of the gold and old ARRI Mini. Filmmakers can now afford to shoot with the ARRI ALEXA Mini without breaking the bank. For instance, the rental costs are reduced, and you can buy it too. With the introduction of the ARRI 35, many Mini owners have been selling it to upgrade to ARRI 35. Hence, you can find many ARRI Mini in the second-hand market. Those cameras are extremely reliable and still produce stunning imagery. Therefore, independent filmmakers choose to shoot with them. That may be the main cause of the rise of Super 35 when referring to Cannes 2024 cinematography.

Lenses, lenses, lenses

Another logical reason for the comeback of Super 35, is the glass. More lenses fit smaller sensors. Therefore, there are more options for filmmakers to choose from. That was one of the reasons the ARRI 35 was developed. As ARRI said once: “Not everybody wants to shoot large format”. Simple as that! And again, as Magic Circle works, the ARRI 35 pushes the chart toward Super 35 cameras. Hence, the ARRI 35 and the Mini preserve the popularity of the Super 35, and without them, there’s a chance that large format cameras were preferred.