Leading up to the Academy Awards, I always love diving into the production stills and going deep into the tech specs for many of the Oscar nominees. That includes finding out the gear these filmmakers and cinematographers used.<\/p>\n
Obviously, ARRI continues to lead the pack as the standard cinema camera\u00a0package \u2014\u00a0and ARRI just\u00a0celebrated it’s 100th anniversary<\/a>. Let’s dive into the cameras and lenses behind 2018’s Oscar-nominated films and see what made the list. (You can find previous\u00a0nominees\u00a0here: 2017<\/a>, 2016<\/a>.)<\/p>\n Oscar Nominations: <\/strong>5 \u2014 Best Cinematography, Best Visual Effects, Best Sound Editing, Best Sound Mixing, Best Production Design. We\u00a0previously took a\u00a0hard look at\u00a0Roger Deakins<\/a>\u2018s work on\u00a0Blade Runner 2049<\/em><\/a>. Our friends at\u00a0ARRI<\/a>\u00a0provided some stellar set photos and gave us insight into the lighting rigs set up by gaffer\u00a0Bill O\u2019Leary<\/a>.<\/p>\n Roger achieved most of the look in-camera. For the lighting, we used soft sources and lots of gels on the lampheads to create the different color atmospheres. We went through almost 1,400 rolls of gel by the time we had finished shooting!<\/p><\/blockquote>\n The lighting rigs on\u00a0Blade Runner 2049<\/em>\u00a0were absolutely massive. One of the main set pieces featured a light ring with 256 ARRI 300-watt fresnels, and another used 100 SkyPanels.<\/p>\n I always wanted to light the two scenes on that set quite differently. The first lighting design was something I had thought out well before the idea of the pool was finally locked in. This was based on the idea of sunlight coming through skylights in the roof and was similar in a way to the initial wide shot that introduces the Records Library. Of course, the addition of the element of water helped me create a second, quite-different look for that \u2018interrogation\u2019 scene. But the caustics were just a background to the actual character lighting, which was also something I had been thinking about for some time. It seemed a natural extension of the theme of moving light. \u2014Roger Deakins<\/p><\/blockquote>\n You can read the whole\u00a0Blade Runner 2049<\/em>\u00a0cinematography piece\u00a0<\/em>here<\/a>. The film’s sound design and VFX were also well received. I’d also suggest checking out The Secrets Behind the Sound Design of Blade Runner 2049<\/a>. Several VFX houses worked on Blade Runner 2049<\/em>, including Atomic Fiction, whose office we visited in a previous interview and tour<\/a>.<\/p>\n Oscar Nominations:\u00a0<\/strong>8 \u2014 Best Motion Picture, Best Director, Best Cinematography, Best Film Editing, Best Original Score, Best Sound Editing, Best Sound Mixing, Best Production Design In an interview with British Cinematographer<\/em><\/a>, Van Hoytema shared the following:<\/p>\n Chris is a champion of film, so\u00a0Dunkirk<\/em>\u00a0was always going to be a film project . . . To be honest, I am very much with Chris that there is not yet any medium that reaches the depth and quality of film. So if you want to tell a story in a visual way \u2014 as a dramatic, close-up, immersive experience of what is in front of you on-set \u2014 film is still the No.1 choice.<\/p><\/blockquote>\n On shooting handheld with an IMAX camera:<\/p>\n From an aesthetic point-of-view I thought it was an inspired choice. Our ambition was to be in the action all of the time, to portray feelings and evoke the emotions of the people caught up in those dramatic episodes, in a documentary style. There was some crane work \u2014 with the camera mounted on a stabilised Edge Head, provided by Performance Filmworks \u2014 but it\u2019s very sparse, that style of cinematography can take out of the immediacy of the moment.<\/p>\n From a practical point-of-view, the IMAX and the 65mm cameras are big \u2014 like a hotel mini-bar \u2014 and the 65mm camera is heavier than the IMAX. But the lengths of the filmstocks in the magazines are fairly short \u2014 two-minutes for the IMAX, and around eight minutes for the 65mm \u2014 and I knew I would only have to shoulder the cameras for short periods of time.<\/p><\/blockquote>\n On the camera and lens package,<\/p>\n Large format is not an off-the-shelf affair, especially the lenses, and we worked with Panavision L.A. for a good six weeks to assemble our shooting package. Although\u00a0Dunkirk<\/em>\u00a0was essentially a one-camera shoot, we always had four IMAX cameras ready to go \u2013 on-set, hard-mounted to the fighters or on our camera ship \u2014 and Chris and I were constantly in motion, leapfrogging between the cameras. We shot the 65mm footage using the 65mm Panaflex System 65 Studio Camera \u2014 65SPFX\u00a0\u2014 which is blimped and is great for shooting sound.<\/p>\n As for the lenses, because of our need for clarity, we shot\u00a0Dunkirk<\/em>\u00a0completely spherical. Optically it is so much more pure than Anamorphic, with much less glass and light refraction between the subject and the emulsion. We had two pairs of lenses for the IMAX cameras \u2014 a 50mm wide-angle and an 80mm for close-ups.<\/p><\/blockquote>\n You can read the entire British Cinematographer<\/em> piece here<\/a>. Hoyte van Hoytema also sat down with Deadline to talk about Dunkirk<\/em>, and I suggest giving that podcast a listen<\/a>.<\/p>\n For more on the making of Dunkirk<\/em>, check out\u00a0The Power of Sound: Using the Shepard Tone In Filmmaking<\/a>\u00a0to dive into the film’s sound design. If you\u2019re interested in recreating the title sequence from Dunkirk<\/em>, you can also check out our video tutorial here:\u00a0Create Transparent Titles Inspired by Dunkirk in Premiere Pro and FCPX<\/a>.<\/p>\n Oscar Nominations: <\/strong>4 \u2014 Best Cinematography, Best Supporting Actress, Best Adapted Screenplay, Best Original Song In an interview with IndieWire<\/a>, Morrison spoke about her work on the film,<\/p>\n Both Dee and I set out to shoot Mudbound on film. Everything about this project screamed to be analog. But our budget was so tight that any added cost came at the expense of something else \u2014 shooting days, extras, production design assets, etc. We did extensive tests to determine if it was worth it. We tested both anamorphic and spherical 16mm on the Arri 416 (which to this day is still my favorite camera ever designed) as well as anamorphic and spherical lenses on 35mm vs the ARRI Alexa shooting ARRI Raw. We were working with Fotokem locally in New Orleans, and I asked our dailies colorist Illya Laney to add a grain emulation curve to the digital media, match the shots to each other, and then reduce saturation and contrast by about 15-20%.<\/p>\n It\u2019s always a challenge to shoot a period film and not have it look like you hit the tea stain button in post. We wanted to create a world that was true to the time, but felt raw and real and not overstylized in a way that the audience can sense the theatricality.<\/p><\/blockquote>\n We chose older lenses, a mix of Panavision C and D Series anamorphics as well as Vintage Super Speeds from the ’60s and ’70s that had inherently reduced contrast and many optical aberrations. \u00a0We decided to embrace the aspherical softening around the edges because we felt that even on a subconscious level, this would help the imagery feel more like the FSA photography of the era.<\/p>\n We wanted the lighting to be naturalistic, largely motivated by sun and moon once the McCallan family have left the creature comforts of the city and settled into rural life. \u00a0As much as I would have loved to shoot everything at magic hour, this film is about the sun beating down and what that does to one’s spirits \u2014 and so we embraced harsh lighting conditions when that was called for, but also contrasted the beauty of magic hour and dusk over the fields to illustrate that the endless battle for something greater is fueled by moments of hope and inspiration.<\/p><\/blockquote>\n We’ve been huge fans<\/a> of Rachel Morrison’s work<\/a>, and she also just shot the massive blockbuster Black Panther<\/em><\/a>. You can check out our exclusive interview with production designer Hannah Beachler on creating Wakanda and the amazing sets for the film<\/a>.<\/p>\n Oscar Nominations: <\/strong>13 \u2014 Best Picture, Best Director, Best Cinematography, Best Film Editing, Best Original Score, Best Sound Editing, Best Sound Mixing,\u00a0Best Screenplay, Best Costume Design, Best Production Design, Best Actress, Best Supporting Actor, Best Supporting Actress In an interview with British Cinematographer<\/em><\/a>, Lausten talked about his rekindled relationship with Guillermo del Toro and how he shot The Shape of Water:<\/em><\/p>\n ‘We shot 3.2K open gate,’ notes Laustsen. ‘The bathroom is shot wet for wet so we used an ALEXA Mini.’ Elisa and the creature falling into the river was shot dry for wet with a lot of smoke, cranes, wires and projectors for caustic lighting. ‘I like Master Primes because you know what you\u2019re getting. We went for wide angles and shot a lot with 25mm and 27mm. We were afraid of the female actors getting too sharp so I shot with a diffusion filter inside of the camera to break up the highlights.’<\/p><\/blockquote>\n In terms of the film’s colors, Luasten told Filmmaker Magazine<\/a><\/em>\u00a0that<\/p>\n That steel blue color we used for\u00a0The Shape of Water\u00a0<\/i>goes all the way back to something we used on\u00a0Mimic<\/i>. When I have those steel blue and green colors, I\u2019m always at 3200\u00b0 Kelvin on the lights and 3200\u00b0 Kelvin on the camera as well. Then I\u2019ll use gel on the lights to get the exact color I want. Guillermo and I like to shoot at a 1-to-1 ratio, meaning that our dailies look more or less like the final movie is going to look. In the Digital Intermediate (DI) we\u2019ll use some power windows for adjustments, but the overall color is very close to what we shot.<\/p><\/blockquote>\n In terms of his limited budget versus setups similar to Blade Runner 2049:<\/em><\/p>\n This was a pretty small movie \u2014 it\u2019s a $19.5 million budget \u2014 so I had to be clever about our budget for lighting and camera. We couldn\u2019t afford to have a bunch of ARRI SkyPanels on set. When you have to move so fast, I think it\u2019s easier to control the light the old-fashioned way \u2014 use 3200\u00b0 Kelvin lights and then put the gels on for the color. It\u2019s a little bit backwards, but it worked for me on this movie.<\/p><\/blockquote>\n The film was almost entirely\u00a0single-camera with ARRI\/Zeiss Master Primes:<\/p>\n I\u2019d say 98 percent single camera. Everything is shot on either a Steadicam, a dolly on dance floor with a jib arm and a hot-head, or on a Technocrane.<\/p>\n I just think Master Primes are the best lenses you can buy in the world right now. Guillermo and I want to have 100 percent control over the image, and Master Primes are really good for that. We try to not do anything by accident.\u00a0We don\u2019t like to work with lenses that are giving us something we didn\u2019t know was coming, like an unexpected lens flare.<\/p><\/blockquote>\n You can read more of the British Cinematographer<\/em> interview here<\/a>\u00a0and the Filmmaker Magazine<\/em> interview here<\/a>. For more on Guillermo del Toro,\u00a0you may enjoy reading\u00a0Los Directores: Mexico\u2019s Famous Filmmakers<\/a>.<\/p>\n Oscar Nominations: <\/strong>6 \u2014 Best Picture, Best Cinematography, Best Production Design, Best Costume Design, Best Makeup, Best Actor On\u00a0researching the look for the\u00a0Darkest Hour<\/em>, Bruno Delbonnel shared the following with Deadline<\/a>:<\/em><\/p>\n The thing is, especially for those kind of periods, what you get is basically black-and-white photography, so you can only guess what the color would be. That\u2019s always the problem with a period piece. It doesn\u2019t mean anything, basically. In 1940, the light was exactly the same as it is [now]. So for me, it\u2019s more about discussing with the production designer and finding the right thing from the \u201840s.<\/p><\/blockquote>\n On the camera package:<\/p>\n At the very beginning, we wanted to shoot with an Alexa 65 with medium format lenses, but you need so much light just to get enough depth of field that I convinced Joe that we should go with the regular Alexa, with Cooke lenses. Because then, I could work with not such a big amount of light. I like a very big depth of field, and I think the depth of field was interesting. In order to get enough depth of field, I couldn\u2019t shoot with the 65.<\/p><\/blockquote>\n You can read the entire interview at Deadline<\/em><\/a>.<\/p>\n Oscar Nominations:\u00a0<\/strong>4 \u2014 Best Picture, Best Director, Best Screenplay, Best Actor In an interview with Filmmaker Magazine<\/a><\/em>, Toby Oliver talked about location scouting for Get Out:<\/em><\/p>\n I do use Artemis<\/a> every day when I\u2019m location scouting, and I use it often on set in lieu of a traditional director\u2019s viewfinder, but I didn\u2019t use it for those photoboards because the quality of Artemis\u2019s [photos] is a bit blurry and cruddy when you try to blow them up and print them. So I just used my 7D stills camera. That was a very valuable process for Jordan and I and also the producers, who were there acting out the parts of the characters when we shot the photoboards.<\/p><\/blockquote>\n On shooting in real houses in Alabama:<\/p>\n The Sunken Place was the only time we shot on a stage. Well, it wasn\u2019t really a stage. It was a civic center that we treated like a stage. The rest of the movie was shot entirely on location in real houses and real buildings in Mobile.\u00a0Finding the right house was difficult. Jordan had in mind a specific kind of estate. It couldn\u2019t look too much like it was in the south because the movie is set somewhere on the east coast. Eventually we found a place that was the right balance between being big but not too ostentatious.<\/p><\/blockquote>\n In regards to choosing the ARRI Alexa Mini:<\/p>\n I love the Alexa Mini. It gives you the same image quality as the regular Alexa, but in a smaller package. It\u2019s about half the size and half the weight of the regular Alexa even with all the accessories and things you have to pile onto it. It\u2019s great for working on location if you need to squeeze the camera into a corner. A couple of inches here or there can actually be quite handy. I\u2019ve shot with Alexa Minis on my last three movies. And for\u00a0Get Out,<\/em>\u00a0we shot ProRes 4444 at 3.2K. Because we\u2019re finishing the movie at standard cinema 2K, 3.2K gives you just a little extra room to resize, which is useful in post.<\/p><\/blockquote>\n You can read the entire interview at Filmmaker Magazine<\/em><\/a>. I also suggest giving a listen to Toby Oliver’s interview on the Go Creative Show<\/a>, where he talks about blending horror and comedy, shooting with zoom lenses, and the challenges of a limited budget. There is also a wonderful piece on making Get Out<\/em> over on Vulture<\/em><\/a> that is definitely worth a read.<\/p>\n Oscar Nominations:\u00a0<\/strong>6 \u2014 Best Picture, Best Director, Best Costumes, Best Original Song, Best Actor, Best Supporting Actress There is no credited cinematographer for Phantom Thread<\/em>, making it ineligible for an Academy Award for Best Cinematography. This has to do with Paul Thomas Anderson’s collaborative cinematography workflow. On the subject, he told Entertainment Weekly<\/a><\/em>\u00a0the following;<\/p>\n I should really clarify that. That would be disingenuous and just plain wrong to say that I was the director of photography on the film. The situation was that I work with a group of guys on the last few films and smaller side projects. Basically, in England, we were able to sort of work without an official director of photography. The people I would normally work with were unavailable, and it just became a situation where we collaborated \u2014 really in the best sense of the word \u2014 as a team. I know how to point the camera in a good direction, and I know a few things. But I\u2019m not a director of photography.<\/p>\n If you can give credit, Michael Bauman is the gaffer that I\u2019ve worked with for many, many years on a lot of projects. I could veto Mike, I guess, but he held a lot of the keys. There was a camera operator, Colin Anderson, I\u2019ve worked with, and Erik Brown, who was the first assistant cameraman and Jeff Kunkel, who was a grip. It was a real package like that. It was a really easy way of working. You have to be very, very careful because there are way too many good cinematographers that I would not put myself in that class for a second.<\/p><\/blockquote>\n You can head over to EW to read the entire interview with the director<\/a>.<\/p>\n Oscar Nominations:\u00a0<\/strong>5 – Best Picture, Best Director, Best Screenplay, Best Actress, Best Supporting Actress
\nBlade Runner 2049<\/h3>\n
![\"The](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2018\/02\/Blade-Runner-2049.jpg\" "\\"The")
\nImage: Blade Runner 2049 set via Sony Pictures.\u00a0<\/em><\/p>\n
\nDirector:<\/strong>\u00a0Denis Villeneuve<\/a>
\nDirector of Photography:<\/strong>\u00a0Roger Deakins<\/a>
\nCamera:<\/strong>\u00a0ARRI Alexa Mini,\u00a0ARRI Alexa XT Studio
\n<\/a>Lenses:<\/strong>\u00a0Zeiss Master Prime Lenses
\n<\/a>Recording Format:<\/strong>\u00a0ARRIRAW 3.4K
\n<\/strong><\/p>\n![\"The](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2017\/10\/Deakins_Lighting_Blade_Runner_2049.jpg\" "\\"The")
\nImage: Set of Blade Runner 2049 via\u00a0ARRI.<\/em><\/p>\n![\"The](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2017\/10\/Deakins_Lighting_Blade_Runner.jpg\" "\\"The")
\nImage: Set of Blade Runner 2049 via\u00a0ARRI.<\/em><\/p>\n
\nDunkirk<\/h3>\n
![\"The](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2018\/02\/Dunkirk_Set.jpg\" "\\"The")
\nImage: Dunkirk set via Warner Bros.<\/em><\/p>\n
\nDirector:<\/strong>\u00a0Christopher Nolan<\/a>
\nDirector of Photography:<\/strong>\u00a0Hoyte Van Hoytema<\/a>
\nCamera:<\/strong>\u00a0IMAX MKIV,\u00a0IMAX MSM 9802,\u00a0Panavision 65 HR,\u00a0Panavision Panaflex System 65 Studio
\n<\/a>Lenses:<\/strong>\u00a0Panavision Sphero 65 (50mm wide angle, 80mm for close-ups), Hasselblad Lenses\u00a0
\n<\/a>Recording Format:\u00a0<\/strong>65mm (Kodak Vision3 50D 5203, Vision3 250D 5207, Vision3 200T 5213, Vision3 500T 5219)<\/p>\n![\"The](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2018\/02\/shutterstock_editorial_7930352f_dunkirk.jpg\" "\\"The")
\nImage: Set of Dunkirk\u00a0via\u00a0Thibault Vandermersch\/EPA\/Shutterstock<\/a>.<\/span><\/em><\/p>\n![\"The](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2018\/02\/Dunkirk_Camera_Package.jpg\" "\\"The")
\nImage: Christopher Nolan and Hoyte Van Hoytema via\u00a0M.S.Gordon\/Warner Bros\/Kobal\/Shutterstock<\/a>.<\/em><\/p>\n
\nMudbound<\/h3>\n
![\"The](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2018\/02\/Mudbound_Dee.jpg\" "\\"The")
\nImage: Dee Rees on set of Mudbound via\u00a0Steve Dietl\/Netflix\/Kobal\/REX\/Shutterstock<\/a>.<\/em><\/p>\n
\nDirector: <\/strong>Dee Rees<\/a>
\nDirector of Photography:<\/strong> Rachel Morrison<\/a>
\nCamera:<\/strong>\u00a0ARRI Alexa Mini
\n<\/a>Lenses:<\/strong>\u00a0Panavision C and D Series Anamorphics,\u00a0Vintage Super Speeds
\n<\/a>Recording Format: <\/strong>ARRIRAW 3.4K<\/p>\n![\"The](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2018\/02\/Mudbound_Camera_Crew.jpg\" "\\"The")
\nImage: Rachel Morrison\u00a0shooting Mudbound via\u00a0Steve Dietl\/Netflix\/Kobal\/REX\/Shutterstock<\/a>.<\/em><\/p>\n![\"The](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2018\/02\/Mudbound_Dee_Set.jpg\" "\\"The")
\nImage: Dee Rees on set of Mudbound via\u00a0Steve Dietl\/Netflix\/Kobal\/REX\/Shutterstock<\/a>.<\/em><\/p>\n
\nThe Shape of Water<\/h3>\n
![\"The](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2018\/02\/Shape_Of_Water_Camera_Crew.jpg\" "\\"The")
\nImage: Set of The Shape of Water via K Hayes\/20th Century Fox\/Kobal\/REX\/Shutterstock<\/a>.<\/em><\/p>\n
\nDirector:\u00a0<\/strong>Guillermo del Toro<\/a>
\nDirector of Photography:\u00a0<\/strong>Dan Laustsen<\/a>\u00a0<\/strong>
\nCamera:<\/strong>\u00a0ARRI Alexa XT Plus, ARRI Alexa Mini
\n<\/a>Lenses:<\/strong>\u00a0Fujinon Alura Lens,\u00a0Zeiss Master Prime Lenses
\n<\/a>Recording Format: <\/strong>ARRIRAW 3.4K<\/p>\n![\"The](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2018\/02\/Shape_Of_Water_Camera_Guillermo.jpg\" "\\"The")
\nImage: Set of The Shape of Water via\u00a0K Hayes\/20th Century Fox\/Kobal\/REX\/Shutterstock<\/a>.<\/em><\/p>\n![\"The](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2018\/02\/Shape_Water_Camera_Package.jpg\" "\\"The")
\nImage: Guillermo del Toro on set via S Giraud\/20th Century Fox\/Kobal\/Shutterstock<\/a>.<\/em><\/p>\n
\nDarkest Hour<\/h3>\n
![\"The](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2018\/02\/Darkest_Hour_Camera_Package.jpg\" "\\"The")
\nImage: Darkest Hour set via\u00a0Jack English\/Working Title\/Kobal\/Shutterstock<\/a>.<\/em><\/p>\n
\nDirector: <\/strong>Joe Wright<\/span><\/a>
\nDirector of Photography:\u00a0<\/strong>Bruno Delbonnel<\/a>
\nCamera:<\/strong>\u00a0ARRI Alexa SXT Plus, ARRI Alexa Mini
\n<\/a>Lenses:<\/strong>\u00a0Cooke S4, Angenieux Optimo Lenses
\n<\/a>Recording Format: <\/strong>ARRIRAW 3.4K<\/p>\n![\"The](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2018\/02\/Darkest_Hour_Set.jpg\" "\\"The")
\nImage: Darkest Hour set via Shutterstock<\/a>.\u00a0<\/em><\/p>\n
\nGet Out<\/h3>\n
![\"The](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2018\/02\/Get_Out_Camera.jpg\" "\\"The")
\nImage: Get Out set via Justin Lubin \/ Universal Pictures.<\/em><\/p>\n
\nDirector: <\/strong>Jordan Peele<\/span><\/a>
\nDirector of Photography:<\/strong> Toby Oliver<\/a>
\nCamera:<\/strong>\u00a0ARRI Alexa Mini
\n<\/a>Lenses:<\/strong>\u00a0Angenieux Optimo Lenses
\n<\/a>Recording Format: <\/strong>ARRIRAW 3.4K<\/p>\n![\"The](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2018\/02\/Get_Out_Peele.jpg\" "\\"The")
\nImage:\u00a0Jordan Peele on set via Justin Lubin\/Universal Pictures.<\/em><\/p>\n
\nPhantom Thread<\/h3>\n
![\"The](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2018\/02\/Phantom_Thread_Camera.jpg\" "\\"The")
\nImage: Paul Thomas Anderson on set via\u00a0L Sparham\/Focus Features\/Kobal\/Shutterstock<\/a>.<\/em><\/p>\n
\nDirector:<\/strong>\u00a0Paul Thomas Anderson<\/span><\/a>
\nDirector of Photography:<\/strong> Paul Thomas Anderson (uncredited)
\nCamera:<\/strong>\u00a0Panavision Panaflex Millennium XL2
\n<\/a>Lenses:<\/strong>\u00a0Panavision Ultra Speed Z-Series MKII Lenses
\n<\/a>Recording Format: <\/strong>35 mm (Kodak Vision3 200T 5213, Vision3 500T 5219)<\/p>\n
\nLady Bird<\/h3>\n
![\"The](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2018\/02\/Lady_Bird_Camera_Package.jpg\" "\\"The")
\nImage: Sam Levy and Greta Gerwig\u00a0via\u00a0Merie Wallace\/A24.<\/em><\/p>\n
\nDirector:\u00a0<\/strong>Greta Gerwig<\/a>
\nDirector of Photography:<\/strong>\u00a0Sam Levy<\/a>
\nCamera:<\/strong>\u00a0ARRI Alexa Mini
\n<\/a>Lenses:<\/strong>\u00a0Panavision
\n<\/a>Recording Format: <\/strong>ARRIRAW\u00a02K<\/p>\n