Oscar Winners Shot With ARRI

While the actors, directors and other talent on stage were celebrating their Oscar award wins at the 88th Annual Academy Awards on Sunday night, the folks at ARRI were gleaming with delight, as the winning films in the categories of “Best Picture,” “Best Director,” Best Cinematography” as well as the crafts categories of Production Design, Film Editing, Sound Mixing, Sound Editing, Costume Design, and Makeup and Hairstyling, were all shot with ARRI digital and film cameras.

Best Picture honors went to “Spotlight,” directed by Thomas McCarthy and shot by cinematographer Masanobu Takayanagi on an ALEXA XT camera. The drama, based on the true story of the Pulitzer Prize-winning Boston Globe investigation, also won for Original Screenplay.

Emmanuel “Chivo” Lubezki ASC, AMC won his third consecutive Oscar® for “The Revenant” in the –“Best Cinematography” category. Lubezki shot The Revenant on an ARRI ALEXA XT, ALEXA M and Master Primes, as well as ALEXA 65 cameras and Prime 65 lenses for selected sequences. This is the fifth year in a row that the Best Cinematography winner relied on ALEXA as the camera of choice. The film was also honored in the “Best Directing” category for Alejandro G. Iñárritu and with a “Best Actor” statue for Leonardo DiCaprio. 

The ARRI Alexa XT has been used on several of the year’s best-looking films.

The ARRI Alexa XT has been used on several of the year’s best-looking films.

The film with the most awards of the night was “Mad Max: Fury Road,” garnering six awards in the crafts categories of Production Design, Film Editing, Sound Mixing, Sound Editing, Costume Design, and Makeup and Hairstyling. Directed by George Miller, the film was shot by DP John Seale ACS, ASC with an ARRI ALEXA Plus and ALEXA M cameras.

Hungary’s “Son Of Saul” won “Best Foreign Film.” It was directed by László Nemes and shot in 35 mm by Mátyás Erdély on ARRICAM LT and ARRIFLEX 235 cameras, and Master Prime lenses.

You might also like...

Is On-Board Recording Media A Dying Breed?

With the advent of camera-to-Cloud recording, will in-camera recording media be relegated to the dust bin of history alongside the Jaz Drive and the Sony Memory Stick? It could soon well be the case, but for it to happen, The…

Electricity: Part 8 - Electric OB Vans

We are told that in the future all cars will be electrically powered. It is therefore quite natural that a broadcaster should consider whether outside broadcast vehicles might follow suit.

Ashley Xu - Crossing The Divide Between Creating For Social Media And Traditional Professional Media

Ashley Xu blew up on social media when she started making ‘thirst traps’ (adverts) in her college dorm. Check them out, you may be surprised by just how good they are. It did not take long for major brands to see…

Compression: Part 2 - Moving On From Analog

Compression is almost taken for granted despite its incredible complexity. But it’s worth remembering how compression has developed so we can progress further.

HDR: Part 7 - LEDs - For Better For Worse

If we could get lights capable of full color mixing at the same price as conventional white-only ones, would we?