Η λίστα με όλες τις ταινίες που συμμετείχαν στα όσκαρ του 2019. Οι κάμερες, οι φακοί και το φορμά που χρησιμοποιήθηκε στην καθεμία. Θα δείτε ότι το φιλμ έχει ακόμα τη θέση του στη βιομηχανία καθώς αρκετές από αυτές γυρίστηκαν με το παραδοσιακό 35mm.
“1917”
Dir: Sam Mendes, DoP: Roger Deakins
Format: ARRIRAW 4.5K
Camera: ARRI Alexa Mini LF
Lens: Signature Primes 40mm
“Ad Astra”
Dir: James Gray, DoP: Hoyte van Hoytema
Format: 35mm film
Camera: Aaton Penelope 2 perf, ARRI Lt, and St 2 perf cameras
Lens: We had our lenses made custom. Based on the ARRI Master Primes, but with coating adjustments and custom elements. We would refer to these lenses as the “Astra’s”
“The Aeronauts”
Dir: Tom Harper, DoP: George Steel
Format: R3D 8K
Camera: RED Monstro
Lens: Panavision G class Anamorphic and Panavision Primo 70
“Atlantics”
Dir: Mati Diop, DoP: Claire Mathon
Format: Digital, 1.66 aspect ratio, post production was done in 2K
Camera: Red Epic 5K and Panasonic Varicam35 4K
Lens: Angenieux 45/120 and 25/250, and Zeiss lenses T1.3
“Avengers: Endgame”
Dir: Anthony Russo, Joe Russo, DoP: Trent Opaloch
Format: ARRIRAW 6.5K
Camera: ARRI Alexa 65 with IMAX modification
Lens: Panavision Ultra Panatar 1.3X anamorphics
“A Beautiful Day In the Neighborhood”
Dir: Marielle Heller, DoP: Jody Lee Lipes
Format: Alexa Super 16 Mode (1.85:1 & 1.33:1), SD Component 3 Tube Video ( PAL/NTSC) (1.33:1), Film (7266 16mm Black & White Reversal) (1.33:1)
Camera: Alexa Mini, Ikegami 79 (NTSC / PAL), Ikegami 323 (PAL), ARRI 416
Lens: ARRI Master Primes, Angenieux Optimo 24-290mm, Canon PV14X12.5BIE
“Bombshell”
Dir: Jay Roach, DoP: Barry Ackroyd
Format: Super 35mm open gate, 2:40 aspect ratio, Arri Raw 2.8 K
Camera: ARRI Alexa mini x2
Lens: Angenieux 24-290mm T2.8 Optimo Zooms, 15-40mm, 28-76mm. Full Set Cooke S4i. 24 mm Arri shift and Tilt
“Booksmart”
Dir: Olivia Wilde, DoP: Jason McCormick
Format: ARRIRAW
Camera: ARRI ALEXA MINI
Lens: PANAVISION T SERIES ANAMORPHIC
“Cats”
Dir: Tom Hooper, DoP: Christopher Ross
Format: Digital 6.5K Arriraw
Camera: ARRI Alexa 65
Lens: Main lenses were an ARRI Prime DNA set from 28 to 150mm and a 21mm Signature Prime (18mm Tokina Vista and 12mm Prime DNA Lenses were used for selected scenes)
“Dark Waters”
Dir: Todd Haynes, DoP: Ed Lachman
Format: 2.8K ARRIRAW
Camera: Alexa Mini
Lens: Cooke Speed Panchro’s Series 2&3, Cooke S4’s, K35’s, Older Cooke and Angenieux Zooms
“Dolemite Is My Name”
Dir: Craig Brewer, DoP: Eric Steelberg
Format: Recorded RAW in 8k with some telephoto camerawork in 5k
Camera: Panavision DXL2 camera which has the RED Monstro sensor. We used the new LI2 color science.
Lens: Panavision’s Primo Artiste, H Series, Primo 70 and Primo zooms.
“The Farewell”
Dir: Lulu Wang, DoP: Anna Franquesa Solano
Format: ARRIRAW
Camera: Arri Alexa Mini
Lens: Zeiss Master Primes
“Ford v Ferrari”
Dir: James Mangold, DoP: Phedon Papamichael
Format: Large Format
Camera: ARRI Alexa LF, which had just become available at the time of out shoot
Lens: Panavision Anamorphic lenses: C-Series and T-Series – both “expanded” to cover the large format sensor — the first time this was done on any movie. Mostly shot on 40 and 50mm, but had full sets of C & T, also spherical H-Series for 2nd Unit.
“A Hidden Life”
Dir: Terrence Malick, DoP: Jörg Widmer
Format & Camera: RED Epic Dragon 6K, we switched to RED Epic-W Helium 7K for the winter scenes, always 2 camera bodies, one equipped with Skintone Highlight, the second with Low Light. OLPF [Optical Low Pass Filters], all shot in RAW
Lens: We used the ARRI Masterprimes 12mm as main lens, 16mm as our long lens and sometimes the Ultraprime 8R
“Hustlers”
Dir: Lorene Scafaria, DoP: Todd Banhazl
Format: 8k, 7k, 6k, 5k, and 4k Large Format Digital
Camera: Panavision DXL2
Lens: The majority of the film was shot using de-tuned Panaspeed lenses and a detuned 11:1 Zoom. We also used E Series Anamorphics for the scene where Usher enters the club.
“The Irishman”
Dir: Martin Scorsese, DoP: Rodrigo Prieto
Format: 35 mm Film (Kodak Vision3 250D 5207, Vision3 500T 5219) 3 Perf, 1.85:1 aspect ratio. 8k REDCODE RAW. 5:1 Cropping the sensor by 82.5% to match the focal lengths on the film cameras. 1.85:1
Cameras: Arricam ST and LT for sections shot on film. RED Helium for sections shot on digital — with two IR-capable Alexa Mini as witness cameras for VFX.
Lens: Cooke Panchro/i Classics Lenses and Zeiss High Speed lenses
“Jojo Rabbit”
Dir: Taika Waititi, DoP: Mihai Malaimare Jr.
Format: 3.4K ARRIRAW
Camera: ARRI Alexa SXT
Lens: HAWK V-LITE 1.3x anamorphic, Vantage One T1 spherical
“Joker”
Dir: Todd Phillips , DoP: Lawrence Sher
Format: 1.85 aspect ratio. 6.5K sensor (cropped for 1.85 at 95% crop so 5.8K). The film was finished in 4K for the DCP
Cameras: 2 ARRI Alexa 65 bodies (90 percent of the movie), 1 ARRI LF Body (for steadicam), ARRI Minis (for inside the prop cameras in Murray Franklin)
Lens: We used a mixture of large format lenses including ARRI DNA, Leica, Nikk, and Canon glass. We shot almost exclusively on prime lenses from 28mm to 350mm. For a few special scenes, we used the 70-200mm CP2, 150-600mm Canon, and 12-1 Angeniuex zoom.
“Knives Out”
Dir: Rian Johnson, DoP: Steve Yedlin
Format: ARRIRAW 2880×1620
Camera: Alexa Mini
Lens: Zeiss Master Primes and Panavision Primo Zooms (PCZ 19-90mm, and PZW 15-40mm)
“The Last Black Man in San Francisco”
Dir: Joe Talbot, DoP: Adam Newport-Berra
Format: ProRes 4444 2.8k
Camera: ARRI Alexa Mini, along with some Phantom 4k Flex footage for the opening montage of the film.
Lens: Zeiss Master Primes with an Optimo 12:1 zoom
“The Lighthouse”
Dir: Robert Eggers, DoP: Jarin Blaschke
Format: 35mm Black and White (Double-X 5222) 1.19:1 Aspect ratio. Essentially the anamorphic gate with spherical lenses.
Camera: Panaflex Millenium XL2
Lens: Bausch and Lomb original Baltars set, optically re-spaced for a spinning mirror camera. 35mm, 58mm, 85mm Sasaki-made Petzval lenses. 50mm Pathé-Goerz Triplet
Custom short-pass, orthochromatic-emulating filter from Schneider.
“Marriage Story”
Dir: Noah Baumbach, DoP: Robbie Ryan
Format: 35MM Film (Kodak)
Camera: Arricam ST
Lens: Panavision Primo Prime Lenses
“Midsommar”
Dir: Ari Aster, DoP: Pawel Pogorzelski
Format: 5K Monstro sensor 2:1, 8K Monstro sensor 2:1
Camera: DXL2
Lens: Primo 35 lenses detuned, Artiste 70mm lenses
“Motherless Brooklyn”
Dir: Edward Norton, DoP: Dick Pope
Format: 1.85:1, 3.4k ArriRaw
Camera: ARRI Alexa Mini cameras
Lens: Cooke Panchro / iClassic Prime Lenses
“Once Upon a Time in Hollywood”
Dir: Quentin Tarantino, DoP: Robert Richardson
Format: 35mm Film
Camera: Panavision
Lens: Anamorphic – E, C, T series
“Pain and Glory”
Dir: Pedro Almodovar, DoP: José Luis Alcaine
Format: 3.4K ARRIRAW
Camera: ARRI ALEXA ST
Lens: COOKE S4
“Parasite”
Dir: Bong Joon Ho, DoP: Kyung-pyo Hong
Format: 65mm format digital cinema camera, 6.5K Opengate, ARRIRAW
Camera: ARRI ALEXA 65
Lens: Prime DNA Lens
“Portrait of a Lady on Fire”
Dir: Céline Sciamma, DoP: Claire Mathon
Format: Digital, 1:85 aspect ratio, post-production was done in 4K
Camera: Red Monstro 7K
Lens: Leica Thalia
“Queen & Slim”
Dir: Melina Matsoukas, DoP: Tat Radcliffe
Format: 35mm Film and some ARRIRAW
Camera: Panavision XL2 and ARRI Alexa mini
Lens: Panavision G series
“The Report”
Dir: Scott Z. Burns, DoP: Eigil Bryld
Format: 2.8 Arriraw
Camera: Arri Alexa Mini
Lens: Master primes and uncoated ultra primes
“Richard Jewell”
Dir: Clint Eastwood, DoP: Yves Bélanger
Format: 3.2K ARRIRAW anamorphic
Camera: ARRI Alexa Mini XT
Lens: Primo Anamorphic C and T Series
“Rocketman”
Dir: Dexter Fletcher, DoP: George Richmond
Format: 2.8K ARRI RAW for the Anamorphic and 3.2K Open Gate for the Spherical (VFX Elements)
Camera: ARRI Alexa Mini’s and Alexa SXT
Lens: The main Lens Package comprised of Panavision G Series Anamorphic Primes, E Series Anamorphic Primes and the AWZ and ATZ Anamorphic Zooms. A set of Primo Classic Spherical lenses were used for some of the VFX capture.
“Seberg”
Dir: Benedict Andrews, DoP: Rachel Morrison
Format: 35mm Film
Camera: Panavision Millenium XL2
Lens: Panavision C Series Anamorphic lenses with a smattering PV Z and SP Primes, which Sasaki de-tuned to match the C series.
“The Two Popes”
Dir: Fernando Meirelles, DoP: César Charlone
Format: 8K and 4K Red
Camera: Red Helium
Lens: Angenieux 35 mm zooms, Zeiss 16 mm zooms
“Uncut Gems”
Dir: Benny Safdie, Josh Safdie, DoP: Darius Khondji
Format: 35mm Film, 4 perfs
Camera: Arri LT and ST full gate Anamorphic
Lens: Panavision C series
“Waves”
Dir: Trey Edward Shults, DoP: Drew Daniels
Format: 2.8k and 3.2k prores4444
Camera: Arri Alexa Mini
Lens: Panavision USZ primes, Ultra Speed primes, Primo primes, and the 24-275 Primo zoom (for spherical)and we shot with Panavision C-series, D-series and E-series anamorphic lenses
Πηγή: indiewire.com