February 27, 2017 oggitomic

Cameras Used on the Oscar-Nominated Films of 2017

The Oscars 2017 ceremony is finally upon us kicking off at 5.30 PST (27/2/2017).  Of course, many of us filmmakers will wonder about which cameras were used to shoot each of those nominated films.  As you can expect, the majority of filmmakers decided to go digital with the champion camera, the ARRI Alexa, while a few, like Theodore Melfi for Hidden Figures, Denzel Washington for Fences, and Damien Chazelle for La La Land, shot on film cameras.  You can find out which cameras and lenses were used in the Oscar-nominated films below:

Hidden Figures

Nominated for Best Picture (Donna Gigliotti, Peter Chernin, Jenno Topping, Pharrell Williams, and Theodore Melfi). Cameras: Arriflex 416, Panavision Panaflex Millennium XL2 Lenses: Panavision Ultra Speed MKII, Panavision Primo, E-, T-Series, ATZ and Canon lenses

Hacksaw Ridge

Nominated for Best Picture (Bill Mechanic and David Permut) and Best Director (Mel Gibson). Cameras:  ARRI Alexa XT Plus, RED Epic Dragon Lenses:Panavision Primo, Primo V, Leica Summilux-C, and Angenieux Optimo lenses

Arrival

Nominated for Best Picture (Shawn Levy, Dan Levine, Aaron Ryder, and David Linde), Best Director (Denis Villeneuve), and Best Cinematography (Bradford Young). Cameras: ARRI Alexa XT M/Plus Lenses: Camtech Vintage Ultra Prime, Kowa Cine Prominar, and Zeiss Super Speed

Lion

Nominated for Best Picture (Emile Sherman, Iain Canning, and Angie Fielder), and Best Cinematography (Greig Fraser). Cameras: ARRI Alexa XT/XT M, RED Dragon (aerial shots)

Silence

Nominated for Best Cinematography (Rodrigo Prieto) Cameras: ARRI Alexa Studio, Arricam LT Lenses: Zeiss Master Anamorphic and Angenieux Optimo lenses

Manchester by the Sea

Nominated for Best Picture (Matt Damon, Kimberly Steward, Chris Moore, Lauren Beck, and Kevin J. Walsh) and Best Director (Kenneth Lonergan) Cameras: ARRI Alexa XT Lenses: Canon K35 and Angenieux Optimo lenses

La La Land

Nominated for Best Picture (Fred Berger, Jordan Horowitz, and Marc Platt), Best Director (Damien Chazelle), and Best Cinematography (Linus Sandgren) Cameras: Panavision Panaflex Millennium XL2, Aaton A-Minima Lenses: Panavision E-, C-Series, custom lens

Hell or High Water

Nominated for Best Picture (Carla Hacken and Julie Yorn). Cameras: ARRI Alexa XT Studio Lenses: Hawk V-Lite, Angenieux Optimo, and Optimo A2S lenses

Fences

Nominated for Best Picture (Scott Rudin, Denzel Washington, and Todd Black). Cameras: Panavision Panaflex Millennium XL2 Lenses: Panavision C-Series, ATZ, and AWZ2 lenses

Moonlight

Nominated for Best Picture (Adele Romanski, Dede Gardner, and Jeremy Kleiner), Best Director (Barry Jenkins), and Best Cinematography (James Laxton). Cameras: ARRI Alexa XT Plus Lenses: Hawk V-Lite and Angenieux Optimo A2S lenses As you may remember that last year was all about taking huge chances for directors of photography and pushing the limits such as Dariusz Wolski using GoPros in The Martian, Chivo Lubezki shootingon the Alexa, and John Seale utilizing five different cameras, including the BMCC cameras on Mad Max: Fury Road and But before you write this off as a boring year in cinematography, at least compared to last year, consider for a second how powerful these nominees are in the story department. We've got stories of great diversity, stories about individuals that don't usually get a chance to show people their side of life. We may not have films with masterful long shots and expertly choreographed high-speed chase sequences, but we've got some of the most captivating and challenging drama we've seen in a while.