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Camera and lenses list survey for 2023 Sundance
- Thread starter Luka Sanader
- Start date
Marc Wielage
Well-known member
Am I crazy, or was there not a single Sundance film shot on Red? They shot on Alexa, Venice, and a smattering of film (16mm and 35mm), but that's about it. Also no Blackmagic or Canon.
This site lists all the 2023 Oscar nominees, which are basically all Alexa or Sony Venice or film except for Women Talking
Best Picture Nominees:
In fairness, the ASC awards did cite several films and shows that are Red-based:
https://variety.com/2023/artisans/aw...23-1235482331/
This site lists all the 2023 Oscar nominees, which are basically all Alexa or Sony Venice or film except for Women Talking
Best Picture Nominees:
- “Top Gun: Maverick”: Sony VENICE
- “The Fabelmans”: ARRIFLEX 16 ST, ARRIFLEX 416, Panavision Panaflex Millennium XL2
- “The Banshees of Inisherin”: ARRI ALEXA Mini LF
- “Everything Everywhere All at Once”: ARRI ALEXA Mini
- “Tár”: ARRI ALEXA 65, ARRI ALEXA Mini LF
- “Elvis”: ARRI ALEXA 65, ARRI ALEXA LF
- “Avatar: The Way of Water”: Sony VENICE
- “Women Talking”: Panavision Millennium DXL2
- “Black Panther: Wakanda Forever”: Sony VENICE
- “All Quiet on the Western Front”: ARRI ALEXA 65, ARRI ALEXA Mini LF
- “Top Gun: Maverick”: Sony VENICE
- “Avatar: The Way of Water”: Sony VENICE
- “The Fabelmans”: ARRIFLEX 16 ST, ARRIFLEX 416, Panavision Panaflex Millennium XL2
- “Tár”: ARRI ALEXA 65, ARRI ALEXA Mini LF
- “Empire of Light”: ARRI ALEXA Mini LF
In fairness, the ASC awards did cite several films and shows that are Red-based:
https://variety.com/2023/artisans/aw...23-1235482331/
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The DXL2 is RED Monstro.
I also see a couple productions on there where RED was used, but not A-Cam. Likely not for me to say though.
I'd say it's also notable that only one sub-4K camera was used on these lists. And more interestingly many larger than S35 sensors whether they used the entirety of it or not.
Marc Wielage
Well-known member
Thanks much for that. All Quiet was definitely Alexa 65 & LF; Bardo was Alexa 65; Elvis was Alexa 65 & LF; Empire was Alexa Mini LF; and Tar was Alexa 65 & LF. Interesting how none were Red or Venice or Blackmagic or Canon.
Yeah, it’s interesting. This wasn’t a year with any low-budget movies in the category (e.g. Moonlight or Hurt Locker) and, with the exception of James Friend for AQonWF (who has many credits on high end TV), the nominated cinematographers are all among the “usual suspects” at awards time. So I guess they all had the resources to choose whatever they wanted, and they picked the sexiest cameras of the moment, the 65 and LF.
(They might very well have used Red or other for some specialty stuff, as Phil points out.)
Whatever else, I do think it may reflect the idea that “large format” can “eventize” your movie, make it feel bigger. That’s partially a marketing message, of course, but I do think filmmakers feel anxiety about justifying feature films as a special experience at a time of lavishly produced series.
- Thread starter
- #7
Luka Sanader
Well-known member
How come is this question of the budget. Camera that shoot more then half of all the films on this list is Alexa Mini, and you cant tell me that even a Low budget film with lets say 1M$ budget would have problem booking a Mini for 6 weeks? yes guys shooting on Film or on Alexa 65 with this higher budgets could become more fancy but hay anyone can afford to shoot on any camera today. Simply people like Arri and they use it and more affordable Mini becomes, more and more folks are using Arri.
It seams that now days Red dominates in BTS and when you need to shoot action cam stuff in C-unit... too bad
I was actually talking about the 5 films nominated for the cinematography Oscar. Sorry, got a little sidetracked from the initial topic.
I don't disagree with you that the Alexa Mini is accessible to even very low budget films now-- you can get a great deal on a mini (or amira) package these days. And I'll even add that I think a number of these films were made for well under $1M.
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- #9
Luka Sanader
Well-known member
hahah sorry my bad 1M CAD = 700K USD... In Montreal if you stay with privet owners or small boutique rentals, you can get nice Mini package basically for 2 days a week in a ballpark of 3000CAD a week at the best. so what ever sort of Micro Budget film you do you can get a Mini or Venice. Over hire Red is finished and aside form Music Video people no one is confederating for narrative work. I have loaded Monstro with all the best accessories that were ever made for DSMC2, PL EF Nikon and Motion mounts, 5x 980 minimags with mini DIT station, 2x 7touch (regular and ultra), DSMC2 EVF, 5x OLPF (originals and Kippertie), 8x 270 WhA batteries, MB, FF, set of Tokinas IRND 0.3 to 2.1, Oconnor 1040 and set of Oconnor mitchell tripods... now days i rent this package at 400CAD a day and litteraly no one wants it. Last 3 gigs this package went to shoot were: video for web, costume and props test and on one commercial as emergency camera as Mini had died on them.
I have shoot a feature this summer with my Red Monstro and bunch of foks were congratulating me on how well the film looks. funny things is that to many of them that were telling me how well film looks i have offer give them a Monstro for next project, basically for peanuts and no one wanted even to consider the option.
Its Arri or Venice or nothing type of logic now days.
That's insane for an amazing package like that!