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2022 Oscar winners rely on ARRI cameras and lenses


The Oscars returned in all its glory this year, adhering to the new normal modified COVID protocols to celebrate a year's worth of cinematic artistry and entertainment. The 94th Academy Awards ceremony, presented by the Academy of Motion Picture Arts and Sciences, took place at the Dolby Theater in Los Angeles on March 27, 2022, with a full audience and an even larger worldwide viewership. Despite lackluster box office sales in 2021, movies are as popular as ever thanks to streaming services. In fact half of the ten Best Picture nominees were released by streamers.

The Oscar for Best Picture goes to CODA AppleTV+'s touching, audience-favorite film about a deaf family whose hearing daughter has the dream to sing made Academy history as the first Best Picture win for a streaming service. CODA was only nominated in three categories but became favored for the top award late in the game after its recent Producers Guild Award best-film win and best-ensemble win at the Screen Actors Guild Awards. Cinematographer on the film, Paula Huidobro AMC, chose to shoot CODA using ARRI's Signature Prime lenses. In an interview with American Cinematographer Magazine, Huidobro commented: The Signature lenses are quite beautiful for portraits, with their depth of field and creamy look. A combination that delivered for all the personal close ups and the New England landscapes.

Copyright Michael Baker / A.M.P.A.S.

CODA cast pose backstage with director and producers: (from left) Patrick Wachsberger (producer), Eugenio Derbez, Sian Heder (director), Marlee Matlin, Troy Kotsur, Emilia Jones, Daniel Durant, Amy Forsyth, Philippe Rousselet (producer) and Fabrice Gianfermi (producer).

Out of the other nine films nominated by the Academy for Best Picture, seven of them were captured with ARRI cameras. Large-format camera systems continue to be in high demand. Netflixs cerebral and emotionally intense western, The Power of the Dog, made Academy history when director Jane Campion became the first women ever to be nominated twice for Best Director (she was previously nominated for The Piano in 1993). This year, Campion took home the golden statue for directing. The cinematographer on The Power of the Dog, Ari Wegner ACS-the second woman ever to be nominated for Best Cinematography-chose to work with the ARRI ALEXA LF as the main camera and ARRI ALEXA Mini LF as support.

Copyright Richard Harbaugh / A.M.P.A.S.

Jane Campion poses with the Oscar for Directing The Power of the Dog.

For Belfast, cinematographer Haris Zambarloukos BSC, GSC chose to work with ARRI's ALEXA Mini LF camera. The film was shot digitally and then converted mostly to black-and-white in post. Adam McKay's Don't Look Up, was lensed by DP Linus Sandgren ASC, FSF on the ARRICAM LT/ST in 35 mm for Netflix. The solo foreign entry in this category was from Japan. Director Ry suke Hamaguchi and cinematographer Hidetoshi Shinomiya choose ALEXA Mini with ARRI/ZEISS Ultra Prime lenses for Drive My Car which was awarded the Oscar for Best International Feature Film earlier in the evening. ARRI's ALEXA XT Plus and ALEXA Mini cameras captured Will Smith's Oscar winning performance in King Richard through the talents of DP Robert Elswit ASC. Nightmare Alley brought the Shape of Water (2018) Best Picture winning duo, director Guillermo del Toro and cinematographer Dan Laustsen ASC, DFF, back together. DP Laustsen relied on ARRI Rental's ALEXA 65 large-format camera as well as the ARRI ALEXA LF, Mini LF, and ARRI Signature Prime lenses. ARRI Rental also serviced the production which was shot in the USA and Canada.

The seventh film shot with ARRI cameras on the noms list for Best Picture was Denis Villeneuve's fantastical sci-fi thriller Dune. Even though this epic first installment of Frank Herbert's 1965 novel was passed over for top prize of the evening, Dune scored the top camera accolade. Achievement in Cinematography is always a highly anticipated category at ARRI and this year's competitive playing field speaks volumes for the talent in the industry. Four out of the five contenders in this category chose to capture their masterpieces with ARRI cameras.

The Oscar for Achievement in Cinematography goes to Greig Fraser ACS, ASC for Dune Piggybacking on its recent Best Cinematography win at the ASC Awards (American Society of Cinematographers) and BAFTA Awards (British Academy of Film and Television Arts) earlier this year, Dune and its incomparable DP Greig Fraser ACS, ASC, were honored with Oscar gold for cinematography at the 94th Academy Awards. In late 2021, Fraser was also awarded the bronze frog at Camerimage, an international film festival in Poland that recognizes the art of cinematography.

Going into the award show with the second most nominations, Dune, a Warner Bros. release, debuted simultaneously in theaters and via streaming. It was nominated in a whopping ten categories at this year's Academy Awards and became the biggest winner of the evening, earning six golden statuettes, including Film Editing, Original Score, Production Design, Sound, Visual Effects, and Cinematography.

Dune was shot on ARRI's ALEXA LF and Mini LF cameras with Panavision H-Series and Ultra Vista lenses. The production was serviced with lighting and grip gear by ARRI Rental. Villeneuve and Fraser composed the visual masterpiece with a combination of wide shots (vast desert landscapes) and extreme close-ups (intimate character portraits). After working with the ALEXA Mini LF camera on Dune, Fraser commented: The Mini LF has made possible what I thought was previously impossible with large-format photography. The freedom it allows me as a DP, to move the camera in whatever way I feel is best, is unbeatable. Congratulations on successfully and constantly p
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