DEFINITION March 2019

DRAMA | FOR YOUR CONS I DERAT ION

BEST OF THE REST

Yet again, Arri rules the Oscar awards with a mixture of its Alexa (and variants) camera and some timeless Arri film machinery. We wonder though – with the recent resurgence of film – will things be different next year? Highlights for us included the glorious Roma , with a black & white non-nostalgic aesthetic shot by Cuarón himself. He has already won a BAFTA for his cinematography and was vocal about the Oscars creative awards snub. A favourite for many of the awards this season has been Robbie Ryan, with his obscure use of fisheye lenses in The Favourite . But he’s up against tough competition from Cuarón; that journey to Mexico City has charmed so many. Film and digital capture completes the picture for the Academy Awards Yet again, Arri rules the Oscars with its Alexa variants and film cameras

GREEN BOOK The Arri Alexa Mini was used with Leica Summilux-C lenses. The cinematographer was Sean Porter

NEVER LOOK AWAY Shot by Caleb Deschanel and nominated for Best Cinematography, using the Arri Alexa XT Plus and Zeiss Master Primes

VICE Shot by Greig Fraser

(pictured) on film using Arricam and Arriflex cameras with Cooke and Zeiss lenses

24 DEF I N I T ION | MARCH 20 1 9

Powered by