{"id":52184,"date":"2015-02-26T18:03:57","date_gmt":"2015-02-26T18:03:57","guid":{"rendered":"http:\/\/www.premiumbeat.com\/blog\/?p=52184"},"modified":"2015-02-26T18:16:54","modified_gmt":"2015-02-26T18:16:54","slug":"arri-conquers-the-academy-awards-red-not-so-much","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/arri-conquers-the-academy-awards-red-not-so-much\/","title":{"rendered":"ARRI Conquers the Academy Awards. RED? Not so Much."},"content":{"rendered":"

ARRI was the camera of choice for a majority of the 2015 Oscar nominees, while RED was noticeably absent for the second straight year. Let’s take a look at the major award categories and see who shot on what.<\/h2>\n

Oscar night is always full of revelations and bombshells, but one of the evening’s most interesting surprises was in the hardware representation category. Out of all the nominated films, Richard Linklaters’s Boyhood<\/em>\u00a0was the only film to not utilize ARRI gear – and RED was totally absent for the second year in a row. Let’s take a look at the major categories and find out what films were\u00a0shot on what cameras.<\/p>\n

Best Picture<\/h3>\n

American Sniper<\/em>: ARRI\u00a0\u00a0Alexa XT<\/p>\n

Birdman<\/em>: ARRI\u00a0\u00a0Alexa M, ARRI\u00a0\u00a0Alexa XT<\/strong><\/p>\n

Boyhood<\/em>:\u00a0Moviecam Compact, Panavision Panaflex Millennium XL2<\/p>\n

The Grand Budapest Hotel<\/em>: ARRICAM ST<\/p>\n

The Imitation Game<\/em>: ARRICAM LT, ARRICAM ST<\/p>\n

Selma<\/em>: ARRI ALEXA XT Plus<\/p>\n

The Theory of Everything<\/em>: ARRI ALEXA, ARRIFLEX 16 SR3\u00a0<\/span><\/p>\n

Whiplash<\/em>: ARRI ALEXA, Canon EOS 7D<\/p>\n