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Oscar nominees 2016! Two films shot in 65mm, Arri still dominates


Andrew Reid

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Best picture nominations

The Big Short (Adam McCay, Ryan Gosling, DP - Barry Ackroyd) - Film and digital

Arricam LT and Canon C500 (some shots). 4K Canon RAW, mastering in 2K.

Bridge of Spies (Spielberg, Tom Hanks, written by the Coen brothers, DP - Janusz Kaminsky) - Film and anamorphic

Arricam LT and Arriflex. Hawk V-lite anamorphic lenses

Brooklyn (John Crowley, Jim Broadbent, DP - Yves Bélanger) - Digital

Arri Alexa XT. ArriRAW.

Mad Max: Fury Road - Digital (George Miller, Charlize Thearon, DP - John Seale) - Digital

Arri Alexa M, Arri Alexa Plus, Canon 5D Mark II, Olympus E-M5 (some shots)

The Martian (Ridley Scott, Matt Damon, DP - Dariusz Wolski) - Digital

RED Epic and Scarlet, Dragon sensor. GoPro Hero 4 (H.264). Redcode RAW 6K

The Revenant (Alejandro González Iñárritu, Leonardo DiCaprio, DP - Emmanuel Lubezki) - Digital

Arri Alexa 65, Hasselblad Prime 65 Lenses , Arri Alexa XT and XT M, Panavision Primo, C-Series, Leica Summilux-C and Zeiss Master Prime Lenses
RED Epic Dragon (some scenes)

Room (Lenny Abrahamson, Brie Larson, DP - Danny Cohen) - Digital

RED Epic Dragon, Redcode RAW

Spotlight (Tom McCarthy, Mark Ruffalo, DP - Masanobu Takayanagi) - Digital

Arri Alexa XT, ArriRAW

 

Best cinematography nominations

Sicario (Roger Deakins) - Digital

Alexa XT

The Hateful Eight (Robert Richardson) - Film

Panavision 65 HR (65mm film)

Carol (Edward Lachman) - Film

ArriFlex 416, Super 16mm film

Mad Max and The Revenant (See above) - Digital

 

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Why is the Hateful Eight said to be filmed in 70mm Anamorphic with the non - 70mm Theatres titled "70mm Roadshow Version" .

Tarantino supposedly located the Ultra Panavision 70 Cameras, along with the Panavision 70 Anamorphic lenses unused for something like 40+ years. and paid for them to be CLA'd so they would work in the cold temperatures with new lubricants.

I think the Anamorphic ratio is something like 2.76 : 1.

I think the film was projected horizontally and the 70mm was the width exposed along the length of the film, so maybe the film stock is 65mm wide.

Sorry about musing while I typed.

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This is no contest. Chivo is going to win his 3rd straight.

He is indeed! 

As for the discussion re film formats, the reason you see no F65 is because the Alexa killed it off for flexibility of image/ease of use, and the Dragon killed it off for size. 
If you're going that big you may as well be shooting film. I remember the Alexa hitting and Sony F35 & F65 rentals tanking almost instantly. Both are great cameras, just too unwieldy. 
The Alexa mini has put quite a dent in Dragon rentals lately too. And the Arri 65mm winning Chivo his 3rd Oscar, AND him saying that he's found a digital solution that means he never goes back to film, means that rentals for that camera will be even stronger than the already are. I've worked 2 big budget commercials recently where they wanted to use it - we couldn't find one for favors OR money. 
RED are very right to chase 8k as hard as they can. :-)

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I know this is a place that will give me no sympathy.. but I'm pretty upset Mad Max is up for best.. anything -_-

He is indeed! 

As for the discussion re film formats, the reason you see no F65 is because the Alexa killed it off for flexibility of image/ease of use, and the Dragon killed it off for size. 
If you're going that big you may as well be shooting film. I remember the Alexa hitting and Sony F35 & F65 rentals tanking almost instantly. Both are great cameras, just too unwieldy. 
The Alexa mini has put quite a dent in Dragon rentals lately too. And the Arri 65mm winning Chivo his 3rd Oscar, AND him saying that he's found a digital solution that means he never goes back to film, means that rentals for that camera will be even stronger than the already are. I've worked 2 big budget commercials recently where they wanted to use it - we couldn't find one for favors OR money. 
RED are very right to chase 8k as hard as they can. :-)

F65 is a great camera. If you're looking at professional digital s35, I might choose the f65 over arri or red just for the mechanical shutter.

I am pretty sure the camera used to film a movie has nothing to do with its oscarbility. Its more that excellent film maker have big budgets and like to have pro DOPs and pro gear.

Sort of.. but in the case of Tarantino, it seems like if he wasn't making a huge deal out of 65mm film for Hateful Eight, he may not have been nominated at all (since he wasn't up for any other big ones really) - just like with 12 Years a Slave getting a nomination for best picture.. and hardly anything else. The Oscars have weird patterns and internal things all the time.. seems like few people in the academy respected Hateful Eight/12 Years a Slave, but felt obligated to vote for them in certain categories. Like people were actually voting for "65mm film" in that category. - Not that those weren't great films (granted I've never seen 12 Years a Slave.. just like a lot of the academy members who voted for it)

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Great pity the Sony F65 was never more successful. It was a screw up by Sony that they didn't focus on making the whole workflow for the F65 more smooth and efficient for Hollywood back when they first released the F65. They're fixing it now, but is too little too late. Arri (and even RED) has stolen the jump over Sony in this niche.

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Lucy (the Luc Besson movie) was shot on f65 and looks beautiful. It's obviously not oscar material, nor as good as other Besson movies, but its looks are as mesmerizing as its lead actress. For all its accolades and prestige, Birdman is not as beautiful looking, due to the way it is shot. Don't get me wrong, the cinematography is superb and worthy of study in a film school but it has a lot of post image stabilization and loss of resolution due to constant movement and it is lit in a "not pretty, available light" way... It goes to show that the function of the DP is not to make pretty pictures but to engage the audience in the story trough moving images.

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