Once again, ARRI can claim the top vote getter amongst cinematographers in this year's Academy Awards race. But the surprise was that the ALEXA Mini was a very popular choice within that subset. But while many shooters preferred ARRI, there were other cameras that still got some notice by Oscar.
Roger Deakins
Blade Runner 2049: Cinematographer Roger Deakins nominated for Best Cinematography and he is a master at giving stark, barren landscapes and other worldly, yet beautiful sheen. And for this followup to the sci-fi classic, Deakins chose three ARRI camera platforms: The ALEXA XT Studio, ALEXA Mini, and ALEXA Plus. "I’d worked with Denis twice, and both films were with the ALEXA, with Master Prime lenses," Deakins told Deadline Hollywood.
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And hats off to Best Cinematography nominee Dan Laustsen for craft the look of a 60s Sci-fi film, awash in color, but without all the campy B- movie vibe. "I really love anamorphic and CinemaScope. But in the end, we came back to 1.85, because Guillermo likes that format very much, and it works really well on this movie," Lausten told Deadline. "We used the Alexa XT, and I think it’s beautiful in the …show more content…
Image Credit - FilmInk
Get Out: The surprise breakout horror film directed by Best Directing nominee Jordan Peele, was shot on the ARRI ALEXA Mini. "The warmth in the imagery at the estate was intended as a bit of a visual false security in a way, but of course there is something very strange under the surface," Cinematographer Toby Oliver told ASC Magazine. "I also played with color in the night scenes both inside and outside the house, using special lighting gels and camera settings to bring a range of cyan, greenish and aqua tones into the ‘moonlight’ and ambiance rather than a straight up ‘blue’ vs ‘warm' feel.”
Three Billboards Outside Ebbing, Missouri: Nominated for Best Picture, this character drama about a mother seeking justice after the death of her son was shot on the ARRI ALEXA XT Plus. (Director Martin McDonagh) wanted it to be a piece of cinema and his base point is 1970s filmmaking," Davis told British Cinematographer. "He wants that type of approach than a more contemporary handheld approach. We used a traditional style, (but with the ALEXA) what you learn as you go on as a DP is to use fewer lights and to put them in the right