Close

Oscar 2021 Nominees Announced: Here Are the Cameras Behind Them – Y.M.Cinema – News & Insights on Digital Cinema – YMCinema Magazine

The nominations of the 93rd Academy Awards have been announced. Our cinematography survey focuses on the Best Picture and Cinematography categories. Here’re the cameras used to shoot them. Opinion: We’re disappointed not to explore film cameras in that list. Well, except the mighty Aaton Penelope which was the only film representative in that prestige list. 

The Academy
The Academy

Here are the announced nominees for the Best Picture and Cinematography categories. DP (Director of Photography), cameras, and lenses added.

Note: The ASC 35th Awards proven to be a solid indicator for that list (read: ASC 35th Awards – Feature Film Nominees: Cameras and Lenses).

Best Picture

  1. The Father” (Sony Pictures Classics): DP Ben Smithard. Cameras: Sony VENICE. Lenses: Zeiss Supreme
  2. Judas and the Black Messiah” (Warner Bros.): DP Sean Bobbitt. Cameras: ARRI ALEXA LF and Mini LF. Lenses: ARRI DNA
  3. Mank” (Netflix): DP: Erik Messerschmidt, ASC. Cameras: RED Ranger HELIUM Monochrome. Lenses: LEICA Summilux C 
  4. Minari” (A24): DP Lachlan Milne. Cameras: ARRI ALEXA Mini. Lenses: Panavision P Vintage
  5. Nomadland” (Searchlight Pictures): DP Joshua James Richards. Cameras: ARRI ALEXA Mini, AMIRA. Lenses: ARRI Ultra Prime
  6. Promising Young Woman” (Focus Features): DP: Benjamin Kracun. Cameras: ARRI ALEXA Mini. Lenses: Panavision G-Series Anamorphic
  7. Sound of Metal” (Amazon Studios): DP Daniël Bouquet. Cameras: Aaton Penelope. Lenses: Sigma Cine
  8. The Trial of the Chicago 7” (Netflix): DP: Phedon Papamichael, ASC, GSC. Cameras: ARRI ALEXA Mini LF. Lenses: Panavision Anamorphic C and T-Series, Canon K 35

Best Cinematography

  1. Judas and the Black Messiah” (Warner Bros.): DP Sean Bobbitt. Cameras: ARRI ALEXA LF and Mini LF. Lenses: ARRI DNA
  2. Mank” (Netflix): DP: Erik Messerschmidt, ASC. Cameras: RED Ranger HELIUM Monochrome. Lenses: LEICA Summilux C 
  3. News of the World” Dariusz Wolski: DP: Dariusz Wolski, ASC. Cameras: ARRI ALEXA LF, Mini LF. Lenses: Panavision Sphero 65
  4. Nomadland” (Searchlight Pictures): DP Joshua James Richards. Cameras: ARRI ALEXA Mini, AMIRA. Lenses: ARRI Ultra Prime
  5. The Trial of the Chicago 7” (Netflix): DP: Phedon Papamichael, ASC, GSC. Cameras: ARRI ALEXA Mini LF. Lenses: Panavision Anamorphic C and T-Series, Canon K 35

Check out the slides below which show the cameras and lenses for each nominee.

“Mank” (Netflix): DP: Erik Messerschmidt, ASC. Cameras: RED Ranger HELIUM Monochrome. Lenses: LEICA Summilux C
“Mank” (Netflix): DP: Erik Messerschmidt, ASC. Cameras: RED Ranger HELIUM Monochrome. Lenses: LEICA Summilux C
“The Trial of the Chicago 7” (Netflix): DP: Phedon Papamichael, ASC, GSC. Cameras: ARRI ALEXA Mini LF. Lenses: Panavision Anamorphic C and T-Series, Canon K 35
“The Trial of the Chicago 7” (Netflix): DP: Phedon Papamichael, ASC, GSC. Cameras: ARRI ALEXA Mini LF. Lenses: Panavision Anamorphic C and T-Series, Canon K 35
“Nomadland” (Searchlight Pictures): DP Joshua James Richards. Cameras: ARRI ALEXA Mini, AMIRA. Lenses: ARRI Ultra Prime
“Nomadland” (Searchlight Pictures): DP Joshua James Richards. Cameras: ARRI ALEXA Mini, AMIRA. Lenses: ARRI Ultra Prime
“News of the World,” Dariusz Wolski: DP: Dariusz Wolski, ASC. Cameras: ARRI ALEXA LF, Mini LF. Lenses: Panavision Sphero 65
“News of the World,” Dariusz Wolski: DP: Dariusz Wolski, ASC. Cameras: ARRI ALEXA LF, Mini LF. Lenses: Panavision Sphero 65
“The Father” (Sony Pictures Classics): DP Ben Smithard. Cameras: Sony VENICE. Lenses: Zeiss Supreme
“The Father” (Sony Pictures Classics): DP Ben Smithard. Cameras: Sony VENICE. Lenses: Zeiss Supreme
“Judas and the Black Messiah” (Warner Bros.): DP Sean Bobbitt. Cameras: ARRI ALEXA LF and Mini LF. Lenses: ARRI DNA
“Judas and the Black Messiah” (Warner Bros.): DP Sean Bobbitt. Cameras: ARRI ALEXA LF and Mini LF. Lenses: ARRI DNA
“Minari” (A24): DP Lachlan Milne. Cameras: ARRI ALEXA Mini. Lenses: Panavision P Vintage
“Minari” (A24): DP Lachlan Milne. Cameras: ARRI ALEXA Mini. Lenses: Panavision P Vintage
“Promising Young Woman” (Focus Features): DP: Benjamin Kracun. Cameras: ARRI ALEXA Mini. Lenses: Panavision G-Series Anamorphic
“Promising Young Woman” (Focus Features): DP: Benjamin Kracun. Cameras: ARRI ALEXA Mini. Lenses: Panavision G-Series Anamorphic
“Sound of Metal” (Amazon Studios): DP Daniël Bouquet. Cameras: Aaton Penelope. Lenses: Sigma Cine
“Sound of Metal” (Amazon Studios): DP Daniël Bouquet. Cameras: Aaton Penelope. Lenses: Sigma Cine

Explore the chart below, based on that data. Credit: Y.M.Cinema Magazine.

Oscar 2021: 93rd Academy Awards nominees-Camera Chart
Oscar 2021: 93rd Academy Awards nominees-Camera Chart

Explore the slide below that demonstrates a comparison regarding the cameras used in the Oscar 2020 vs. Oscar 2021:

Oscar 2021: 93rd Academy Awards nominees-Camera Chart, vs. the Oscar 2020's cameras
Oscar 2021: 93rd Academy Awards nominees-Camera Chart, vs. the Oscar 2020’s cameras

Well, this is kind of unfortunate to reveal a significant reduction in the film cameras compared to the previous year (read: The Cameras Behind Oscar 2020: Film Made a Comeback and RED Enters the List). However, there’s might be a logical explanation for that, since those films were made mainly for streaming, rather than be screened on the big canvas. Shooting for Netflix is not exactly the same as shooting for a real movie theater. We can conclude that this reduction was caused due to the COVID restrictions which forced movie theaters to be removed from the entertainment equation. Sure, this year was very different and unprecedented to filmmakers and moviegoers. On the other hand, those films were planned a couple of years ago, before the pandemic hit the industry. If so, are we witnessing a significant dissipation of the ‘good and old’ film stock? Personally, I hope not, since film will still get you the best image quality. Nevertheless, the math never lies.

What do you think about this hypothesis? Comment below.

scroll to top