Let’s turn the spotlight on 2021’s Oscar nominees and see what cameras and lenses their crews used to create the biggest films of the year.
Here’s a look at the cameras and lenses used on Best Picture and Best Cinematography nominees. Yes, plenty of ARRI ALEXA, but a few surprise cameras, too.
Judas and the Black Messiah
6 Nominations: Best Picture, Best Cinematography (Sean Bobbitt), Best Actor (Daniel Kaluuya), Best Supporting Actor (LaKeith Stanfield), Best Original Song, Best Screenplay.
Shot by Sean Bobbitt on the ARRI ALEXA LF and ARRI ALEXA Mini LF using DNA LF lenses. As for filming a diverse cast, Bobbitt shares about the cameras’ abilities:
Mank
10 Nominations: Best Picture, Best Director (David Fincher), Best Cinematography (Erik Messerschmidt), Best Actor (Gary Oldman), Best Actress (Amanda Seyfried), Best Sound, Best Original Score, Best Production Design, Best Costumes, Best Makeup and Hairstyling.
David Fincher’s approach to filmmaking and intense level of detail certainly meant that the film was going to be shot digitally and not on film, even if it was appropriate for a period piece. The film was shot by Erik Messerschmidt on the RED Ranger Helium Monochrome with Leica lenses, about which he says:
For an absolutely stellar gallery and some of the most gorgeous behind-the-scenes photos I’ve ever seen, check out the Mank set photos from Miles Crist and Nikolai Loveikis at thewhitewinecameupwiththefish.com.
Nomadland
6 Nominations: Best Picture, Best Director (Chloe Zhao), Best Cinematography (Joshua James Richards), Best Actress (Frances McDormand), Best Adapted Screenplay (Chloe Zhao), Best Editor (Chloe Zhao).
Chloe Zhao and Joshu James Richards turned to ARRI Rentals for Nomadland, shooting on both the ARRI ALEXA Mini and the ARRI Amira. The cameras were often paired with 16mm, 18mm, and 32mm ultra primes.
Richards revealed:
The Trial of the Chicago 7
6 Nominations: Best Picture, Best Cinematography (Phedon Papamichael), Best Screenplay, Best Editing (Alan Baumgarten), Best Actor (Sacha Baron Cohen), Best Original Song.
The film was shot by Phedon Papamichael on the ARRI ALEXA LF and ARRI ALEXA Mini LF using Panavision C-Series, T-Series, B-Series, and Canon K35 lenses.
Minari
6 Nominations: Best Picture, Best Director (Lee Isaac Chung), Best Actor (Steven Yeun), Best Actress (Youn Yuh-jung), Best Screenplay, Best Original Score.
Shot on the ARRI ALEXA Mini with Panavision P vintage lenses by Lachlan Milne. Milne talks about the candid moments that were captured organically, where the cinematographer would pull inspiration from Terrence Malick.
Sound of Metal
6 Nominations: Best Picture, Best Editing (Mikkel E.G. Nielsen), Best Actor (Riz Ahmed), Best Supporting Actor (Paul Raci), Best Sound, Best Screenplay.
Sound of Metal was one of the few nominated pictures that was shot on film. Cinematographer Daniël Bouquet captured the Best Picture nominee on the Aaton Penelope camera with Sigma 35 lenses. For filmstock, they went with Kodak Vision3 50D 5203, Vision3 250D 5207, and Vision3 500T 5219.
But, why did director Darius Marder chose to shoot on film?
The Father
6 Nominations: Best Picture, Best Editing (Yorgos Lamprinos), Best Actor (Anthony Hopkins), Best Actress (Olivia Colman), Best Adapted Screenplay, Best Production Design.
The Father was shot by Ben Smithard on the Sony VENICE with Zeiss Supreme lenses. Director/Writer Florian Zeller talks about filming Anthony Hopkins’ emotional performance:
Promising Young Woman
5 Nominations: Best Picture, Best Director (Emerald Fennell), Best Editing (Frédéric Thoraval), Best Actress (Carey Mulligan), Best Screenplay.
Promising Young Woman was captured by Benjamin Kracun on the ARRI ALEXA Mini with Panavision G-series lenses. The film draws from many pop-heavy cultural films from the 1990s, such as Clueless or To Die For, which Kracun reveals:
News of the World
4 Nominations: Best Cinematography (Dariusz Wolski), Best Production Design, Best Sound, Best Original Score.
The Paul Greengrass western starring Tom Hanks was filmed by Dariusz Wolski on the ARRI ALEXA LF and ARRI ALEXA Mini LF, with Panavision Vintage 65 primes and Angénieux Optimo EZ1 and EZ2 zoom lenses. As for capturing the drama, Wolski says:
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Cover image via Miles Crist/NETFLIX