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.
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):
Explore the simplified lens chart based on the data above. 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?