Oscars 2022: Lentils – YMCinema

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These are the lenses behind 29 films vying for the 94th Oscars (Oscars 2022), according to IndieWire’s film survey. The main manufacturers are Panavision (as usual), ARRI (with their new Signature Primes), Cooke (S4/i), Leitz full frame primes and Angénieux zooms.

Oscars 2022: Table of lens manufacturers. Credit: YM Cinema Magazine

As our tradition demands, we take a look back at the tools that were used to make the most acclaimed movies of 2022. In this article, you’ll find the cameras and lenses that shot the top contenders for the 2022 Oscars (94th Academy Awards ) according to The IndieWire Survey. The list contains the main contenders (a total of 29 films). It’s important to note that the list isn’t split for best cinematography or best film as usual. However, it is always interesting to explore the tools used by the best artists. This article focuses on glass. Be sure to read the previous article that discusses cameras (Oscars 2022: the cameras). Explore the slides below (movie poster + cameras + lenses):

“Being the Ricardos”: Dir- – Aaron Sorkin, DP – Jeff Cronenweth. Cameras – Red Ranger 8k VV. Lenses – ARRI DNA Primes
“The worst person in the world”: Réal – Joachim Trier, DP – Kasper Tuxen. Cameras – ARRICAM LT. Lentils – Cooke 5/i
“The Tragedy of Macbeth”: Réal - Joel Coen, DP - Bruno Delbonnel.  Cameras - ARRI ALEXA L. Lenses - Cooke S7/i
“The Tragedy of Macbeth”: Réal – Joel Coen, DP – Bruno Delbonnel. Cameras – ARRI ALEXA L. Lenses – Cooke S7/i
“Titanium”. Real – Julia Ducournau, DP – Ruben Impens. Cameras – ARRI ALEXA Mini LF. Lenses – ZEISS Supreme Prime
“Tick, tick…BOOM!”  » : Dir - Lin-Manuel Miranda, DP - Alice Brooks.  Cameras - Panavision DXL 2. Lenses - Panavision Anamorphic G-Series
“Tick, tick…BOOM!” » : Dir – Lin-Manuel Miranda, DP – Alice Brooks. Cameras – Panavision DXL 2. Lenses – Panavision Anamorphic G-Series
“The Tender Bar”. Director – George Clooney, DP – Martin Ruhe. Cameras – ARRI ALEXA Mini. Lenses – Compact zooms Angénieux Optimo, Cooke S4/i
“The Souvenir Part II”: Dir: Joanna Hogg, DP - David Raedeker.  Cameras - ARRI 416, Sony VENICE.  Lenses: ZEISS Super Speed, Canon zooms
“The Souvenir Part II”: Dir: Joanna Hogg, DP – David Raedeker. Cameras – ARRI 416, Sony VENICE. Lenses: ZEISS Super Speed, Canon zooms
“Spencer”: Real – Pablo Larraín, DP – Claire Mathon. Cameras: ARRI 416; ARRICAM LT. Lenses – Leitz Summilux, ARRI Ultra Prime
“The respect”. Real – Liesl Tommy, DP – Kramer Morgenthau. Cameras – ARRI ALEXA Mini LF. Lenses – Panavision T Series
“Red Rocket”. Dir – Sean Baker, DP – Drew Daniels. Cameras – ARRI SR-3. Lens: Panavision Auto Panatar 1.44x anamorphic, ZEISS Super Speeds
“The Power of the Dog”: Dir – Jane Campion, DP – Ari Wegner. Cameras – ARRI ALEXA LF. Lenses – Panavision Ultra Panatar 1.3x Anamorphic
“Pig”: Dir – Michael Sarnoski, DP – Pat Scola. Cameras – ARRI ALEXA Mini. Lenses: Panavision B series
“Pass”: Real – Rebecca Hall, DP – Edu Grau. Cameras – ARRI ALEXA Mini. Lenses: Lomo Anamorphic Round Front
“No Time to Die”: Directed by Cary Joji Fukunaga, DP – Linus Sandgren. Cameras – Panavision XL2, IMAX MSM, Panavision System 65, ARRIFLEX 765. ARRIFLEX 435 and 235. Lenses – Panavision G-Series Anamorphic, IMAX Hasselblad
“Nightmare Alley”: Dir – Guillermo del Toro, DP – Dan Laustsen. Cameras – ARRI ALEXA 65, ARRI ALEXA Mini LF. Lenses – Signature Prime
“The Matrix Resurrections”: Dir – Lana Wachowsky, DP – Daniele Massaccesi and John Toll. Cameras – Red Ranger Helium, RED Komodo. Lenses – Panavision Panaspeed
“The Lost Girl”: Réal – Maggie Gyllenhaal, DP – Hélène Louvart. Cameras – ARRI ALEXA Mini. Lenses – Cooke S4/i
“Licorice Pizza”: Dir – Paul Thomas Anderson, DP – Paul Thomas Anderson and Michael Bauman. Cameras – Panavision Millenium XL2. Lenses: – Panavision C series
“The more they fall”: Dir – Jeymes Samuel, DP – Mihai Mălaimare Jr. Cameras – Panavision DXL2 and RED Monstro. Lenses – Panavision T Series, Panavision Panaspeed
“The Hand of God”: Dir – Paolo Sorrentino, DP – Daria D’Antonio. Cameras – RED DSMC2 Monstro. Lenses – ARRI Signature Prime
“The Green Knight”: Dir – David Lowrey, DP – Andrew Droz Palermo. Cameras – ARRI ALEXA 65. Lenses: ARRI DNA
“The French Dispatch”: Réal – Wes Anderson, DP – Robert Yeoman. Cameras: ARRICAM ST; ARRICAM LT. Lenses – Cooke S4/i, ARRI Master Anamorphic
“Dune”: Réal – Denis Villeneuve, DP – Greig Fraser. Cameras – ARRI ALEXA LF. Lenses – Panavision Ultra Vista Anamorphics, Panavision H Series Spherical
“Drive My Car”: Dir – Ryusuke Hamaguchi, DP – Hidetoshi Shinomiya. Cameras: ARRI ALEXA Mini. Lenses – ARRI Ultra Prime, Angenieux HR Zoom
“Cyrano”: Dir – Joe Wright, DP – Seamus McGarvey. Cameras – ARRI ALEXA LF, ARRI ALEXA Mini LF. Lenses – Leitz Primes; Leitz 25-75mm zoom; Angenieux Optimo Zoom 24-435mm
“Come on, come on”: Real – Mike Mills, DP – Robbie Ryan. Cameras – ARRI ALEXA Mini. Lenses – Panavision Primos
“CODA”: Dir – Sian Heder, DP – Paula Huidobro. Cameras – Sony VENICE. Lenses – ARRI Signature Primes
“Bergman Island”: Dir – Mia Hansen-Løve, DP – Denis Lenoir. Cameras -: ARRICAM Lite. Lenses – Leitz Summilux Prime; Prime Fujinon Zoom
“Belfast”: Real – Kenneth Branagh, DP – Haris Zambarloukos. Cameras – ARRI ALEXA Mini LF. Lenses – Panavision 65mm, System 65 and Sphero lenses

Explore the simplified lens chart based on the data above. Credit: YM Cinema Magazine.

Oscars 2022 - Lens chart.  Credit: YM Cinema Magazine
Oscars 2022 – Lens chart. Credit: YM Cinema Magazine

It appears again and again that DPs prefer to work with Panavision glass. Regardless of the camera, when paired with a Panavision lens, it seems like the winning combo. Panavision offers a super-wide mix of classic lenses designed to capture a huge range of looks that moviegoers crave. As for ARRI, this chart shows the rise of Signature Primes. This new glass from ARRI was first used in 1917 by Roger Deakins. Sharp, glare-free image and smoothness are the hallmarks of Signature Primes. The main cameras associated with the Signature are VENICE, Monstro and ALEXA LF, as this glass is designed for large sensors. Next, the Cooke Look is set at a promising spot, as usual. This time the cinematographers chose to shoot with the Cooke S4/i which is known as one of the best lenses for Super 35mm. For example, the Cooke S4/i was paired with the ARRICAM LT and primarily the hugely popular ALEXA Mini (one of the dominant cameras on this list). For larger sensors, the Cooke S7s/i was chosen. In fourth place we have Leitz glass with its full-frame bounties. And of course, Angénieux offers filmmakers one of the best zoom options on the market.

What do you think of the glass chosen to photograph these Oscar contenders? Is there a goal you hope to explore in this list?

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