{"id":163653,"date":"2022-02-09T11:56:47","date_gmt":"2022-02-09T17:56:47","guid":{"rendered":"https:\/\/www.premiumbeat.com\/blog\/?p=163653"},"modified":"2022-02-09T16:18:40","modified_gmt":"2022-02-09T22:18:40","slug":"cameras-behind-2022-oscar-nominated-films","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/cameras-behind-2022-oscar-nominated-films\/","title":{"rendered":"Cameras Behind the 2022 Oscar-Nominated Films"},"content":{"rendered":"\n

ARRI, Sony, and Panavision continue to be the tools of choice behind the Best Picture and Best Cinematography Academy Award nominees. <\/p>\n\n\n\n

Yesterday, the 94th Academy Awards nominations were released after what can be considered another turbulent year for cinema, with the effects of the pandemic still raging on. With theaters closing and productions stalling, we’ve yet to return to a complete sense of normality. <\/p>\n\n\n\n

However, I said turbulent because, with the lows, there were also highs. Who would have guessed that just a year after 2020, we’d have a film becoming the sixth highest-grossing film of all time, especially when restrictions are still ultra-tight in some parts of the world? <\/p>\n\n\n\n

Nonetheless, with what could be made over the last year, we were treated with some beautiful-looking films. Let’s dive into the behind-the-scenes of this year’s nominees and see how the biggest films were shot on film and digital. <\/p>\n\n\n\n

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The Power of the Dog<\/span><\/h3>\n\n\n\n
\"Filming<\/a>
Ari Wegner and Jane Campion on set of<\/em> The Power of the Dog<\/a>. Image via Netflix<\/a>.<\/em><\/figcaption><\/figure>\n\n\n\n

12 Nominations:<\/strong> Best Picture, Best Director, Best Cinematography, Best Film Editing, Best Actor, Best Supporting Actor (2), Best Supporting Actress, Best Adapted Screenplay, Best Production Design, Best Sound, Best Original Score<\/p>\n\n\n\n

Director:<\/strong> Jane Campion<\/a><\/p>\n\n\n\n

Cinematographer:<\/strong> Ari Wegner<\/a><\/p>\n\n\n\n

Shot On: <\/strong>ARRI ALEXA Mini LF<\/a>, Panavision APO Panatar Lenses<\/p>\n\n\n\n

In an interview with IndieWire<\/a>, Ari Wegner talks about the locations, <\/p>\n\n\n\n

The environment out there is wild. It\u2019s so devastatingly beautiful, but the wind is insane and the sun is intense. New Zealand is like the brightest place. Your brain glitches with the environment. If you only just start thinking about how to capture [it] the first time you get there, you\u2019re definitely going to leave behind beautiful things.<\/p>– Ari Wegner<\/cite><\/blockquote>\n\n\n\n

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Dune<\/h3>\n\n\n\n
\"Crew<\/a>
Filming<\/em> Dune<\/a>. Image via Warner Bros<\/a>. <\/em><\/figcaption><\/figure>\n\n\n\n

10 Nominations:<\/strong> Best Picture, Best Cinematography, Best Sound, Best VFX, Best Production Design, Best Original Score, Best Film Editing, Best Makeup and Hair-styling, Best Costume Design, Best Adapted Screenplay<\/p>\n\n\n\n

Director:<\/strong> Denis Villeneuve<\/a><\/p>\n\n\n\n

Cinematographer:<\/strong> Greig Fraser<\/a><\/p>\n\n\n\n

Shot On: <\/strong>ARRI ALEXA LF IMAX, ARRI ALEXA Mini LF IMAX, Panavision H-Series, and Ultra Vista Lenses<\/p>\n\n\n\n

On the films unique take of shooting on digital but transferring to film, Greig Fraser tells ASC<\/a>, <\/p>\n\n\n\n

We weren\u2019t sure in the early days if we would shoot film or digital, and our extensive testing included 35mm, 65mm 5-perf, 65mm 15-perf, digital 35, digital full frame, and digital 65. We found digital was much closer to the look we wanted, but we also wanted some of the organic feel of film.<\/p>

I\u2019d been talking to [FotoKem senior colorist and ASC associate member] Dave Cole<\/a> for many years about taking a digital master, shooting it out to film, and then scanning it to do the final grade. (Fraser worked with Cole on Vice<\/a><\/em>). We finally tested that on Dune<\/em>, and it gave us the perfect balance.<\/p>– Greig Fraser<\/a><\/cite><\/blockquote>\n\n\n\n

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West Side Story <\/h3>\n\n\n\n
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