Every January, things heat up a bit as the annual Academy Award shortlist decisions draw closer. US online magazine Indiewire has taken the opportunity to ask some top-notch cinematographers which cameras and lenses they choose to snatch one of the prestigious award at the 94th Oscars. You can’t go wrong if you choose only the best, as the saying goes…. but what is the best camera, let alone the myriad of possible lenses that can be combined with this best camera? When shooting a Hollywood feature film, in many cases the camera sports an ARRI sticker, but not always. image credit: ARRI If you’re a cinematographer on a major Hollywood production, budget is usually not the limiting factor in choosing the best camera. Your vision (and that of the director) should be the guiding factor when it comes to choosing one camera over another. In 2002, “28 Days Later” by Danny Boyle (DP: Anthony Dod Mantle) was shot in part with a Canon XL1 DV camera, not because it’s a great camera, but because it was a perfect fit for the look and feel they wanted. 94th Oscars contenders – Camera and lens choices So here are some examples of interesting choices that several DPs have made to achieve the look they want: “Dune” Dir: Denis Villeneuve // DoP: Greig FraserFormat: Large format digital anamorphic and open gate sphericalCamera: ARRI ALEXA LFLenses: Panavision Ultra Vista Anamorphics; Panavision H series spherical According to DP Greig Fraser the team tested both film...
Published By: CineD - Tuesday, 4 January, 2022