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HomeCameraThe Cameras and Lenses Behind the 94th Oscars Contenders

The Cameras and Lenses Behind the 94th Oscars Contenders


Each January, issues warmth up a bit because the annual Academy Award shortlist selections draw nearer. US on-line journal Indiewire has taken the chance to ask some top-notch cinematographers which cameras and lenses they select to grab one of many prestigious award on the 94th Oscars.

You may’t go unsuitable for those who select solely the perfect, because the saying goes…. however what is the perfect digital camera, not to mention the myriad of doable lenses that may be mixed with this greatest digital camera? When capturing a Hollywood function movie, in lots of circumstances the digital camera sports activities an ARRI sticker, however not at all times.

ARRI ALEXA Mini LF
picture credit score: ARRI

Should you’re a cinematographer on a serious Hollywood manufacturing, funds is often not the limiting think about selecting the perfect digital camera. Your imaginative and prescient (and that of the director) ought to be the guiding issue relating to selecting one digital camera over one other. In 2002, “28 Days Later” by Danny Boyle (DP: Anthony Dod Mantle) was shot partly with a Canon XL1 DV digital camera, not as a result of it’s an incredible digital camera, however as a result of it was an ideal match for the feel and appear they wished.

94th Oscars contenders – Digital camera and lens selections

So listed below are some examples of attention-grabbing selections that a number of DPs have made to attain the look they need:

  • DuneDir: Denis Villeneuve // DoP: Greig Fraser
    • Format: Massive format digital anamorphic and open gate spherical
    • Digital camera: ARRI ALEXA LF
    • Lenses: Panavision Extremely Vista Anamorphics; Panavision H collection spherical

Based on DP Greig Fraser the group examined each movie and digital cameras to get the look good. Though basic movie appeared to really feel too nostalgic, the digital pictures out of the Alexa felt a bit too digital. The answer was to mix the digital digital camera with classic glass (Panavision H collection) and barely newer Extremely Vista Anamorphics.

  • The French DispatchDir: Wes Anderson // DoP: Robert Yeoman
    • Format: 35mm movie; 5213 for colour, 5222 for black and white
    • Digital camera: ArriCam ST; ArriCam LT
    • Lenses: Cooke S4’s for the spherical 1.37 sequences; Arriflex Grasp Anamorphic for the anamorphic 2.40 sequences

Traditional movie cameras ain’t useless because it appears! Yeoman states that he and director Wes Anderson already used the Cooke S4’s on “The Grand Budapest Lodge” and each of them merely fell in love with the look in order that they stored utilizing them on this challenge as properly.

ARRICam LT
picture credit score: ARRI AG – Personal work, CC BY-SA 3.0

Regarding the Grasp Anamorphics Yeoman states that’s was important to have the ability to get actors in focus even on the sting of the body so he went with these high-end anamorphics.

  • The Matrix ResurrectionsDir: Lana Wachowsky // DoP: Daniele Massaccesi and John Toll
    • Format: 4K
    • Digital camera: RED Ranger
    • Lenses: Panavision

Based on Daniele Massaccesi, the group wished to “discover a new look, to create a Matrix actuality that appeared extra actual that the fact itself.” A daring declare, however with the unique “The Matrix” film being greater than 20 years of age, issues have clearly modified, and since this franchise has at all times been visually difficult, this newest film isn’t any exception.

RED Ranger
picture credit score: RED
  • The Inexperienced KnightDir: David Lowrey // DoP: Andrew Droz Palermo
    • Format: ArriRaw Opengate 6.5K
    • Digital camera: ARRI Alexa 65
    • Lenses: Arri DNA
  • CODADir: Sian Heder // DoP: Paula Huidobro
    • Format: Sony VENICE 6k
    • Digital camera: Sony VENICE
    • Lenses: Arri Signature LF primes
VENICE
picture credit score: Sony
  • The Hand of GodDir: Paolo Sorrentino // DoP: Daria D’Antonio
    • Format: 8K HD Redcode Uncooked
    • Digital camera: RED DSMC2 Monstro
    • Lens: Arri Signature Prime lenses
  • No Time to DieDir: Cary Joji Fukunaga // DoP: Linus Sandgren
    • Format: 35mm anamorphic 4-perf; IMAX 70mm 15-perf; 65mm 5-perf
    • Digital camera: Panavision XL2; IMAX MSM; IMAX MKIV; Panavision System 65; Arri 765; Arri 435; Arri 235
    • Lens: Panavision G-series anamorphic; IMAX Hasselblad

That is after all only a quick excerpt from the complete listing over on Indiewire, please remember to learn the complete article, it’s properly price it!

ARRI all the way in which?

As soon as once more, many DPs depend on the ARRI model, both utilizing one of many many ALEXA variants or capturing with older however nonetheless very succesful movie cameras just like the ArriCam ST & LT. However RED can be getting in on the motion, particularly with the introduction of the Ranger digital camera, the corporate appears to be attracting the eye of some cinematographers on high-end function movie productions.

However the listing additionally contains massive and heavy Panavision and even IMAX methods. For productions the place cash isn’t any object, it’s actually about the feel and appear, not a lot concerning the {dollars} spent.

Supply: Indiewire
featured picture credit score: Oscars.org (background and emblem)

What do you assume? Are you able to already identify the one function movie that ought to win a trophy on the 94th Oscars? Tell us within the feedback under!



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