The 98th annual Academy Awards recently concluded, honoring the pinnacle of cinematic achievement from the past year. While attention often gravitates towards Best Picture, Actor, or Director, the category of Best Cinematography stands as a critical barometer of innovation and artistry, recognizing the visual architects who craft the very fabric of storytelling. This year’s slate of nominees showcased an extraordinary range of visual styles, from the experimental use of vintage formats to groundbreaking advancements in digital capture, each frame meticulously designed to immerse audiences and deepen narrative impact. This article delves into the sophisticated gear and visionary techniques employed by the industry’s leading cinematographers to create the memorable moments celebrated at this prestigious event.
The Art of Visual Storytelling: A Brief History of Academy Recognition
Since the Academy Awards’ inception in 1929, the Best Cinematography category has evolved significantly, mirroring the rapid advancements in film technology. Initially, awards were given for both Black-and-White and Color cinematography, a distinction that persisted until 1967. Over the decades, cinematographers have pushed boundaries, moving from early silent film techniques to the golden age of Hollywood studio systems, embracing innovations like Technicolor, CinemaScope, and eventually the digital revolution. The shift from film to digital in the early 21st century sparked considerable debate, yet modern awards increasingly celebrate a harmonious blend of traditional artistry and cutting-edge technology. The 98th Academy Awards nominations reflect this dynamic landscape, presenting a masterclass in how camera choices, lens selections, and lighting strategies fundamentally shape a film’s emotional resonance and aesthetic identity. Each film recognized this year not only demonstrated technical prowess but also a profound understanding of how visual language can elevate narrative, proving that the tools are merely extensions of the artist’s vision.
A Deep Dive into the Nominees’ Gear and Techniques
The films nominated this year represented a diverse array of genres and visual philosophies, each demanding unique approaches from their cinematographers. From period dramas seeking authentic textures to high-octane action films requiring custom-engineered solutions, the choices in camera systems and lenses were pivotal to achieving their distinct looks.
Bugonia: Distorted Realities and Thematic Visuals
Cameras Used: Vistavision Wilcam W-11 & ARRIFLEX 435 & 435 HS
Yorgos Lanthimos’s Bugonia continues his compelling collaboration with cinematographer Robbie Ryan, known for their work on critically acclaimed films like Poor Things and The Favourite. In Bugonia, Ryan again crafts a visual language that deeply mirrors the film’s themes of obsession and paranoia. Their deliberate choice of extreme wide-angle and fisheye lenses creates a palpable sense of distortion and claustrophobia, pulling audiences into the protagonist’s unraveling reality. The integration of the Vistavision Wilcam W-11, a rare large-format camera known for its horizontal 35mm film plane, alongside the versatile ARRIFLEX 435 and 435 HS, allowed for a unique blend of vintage cinematic texture and modern operational flexibility. Vistavision, renowned for its superior image quality and larger negative area, provided a foundation for the film’s distinctive aesthetic, while the ARRIFLEX cameras offered reliability for more dynamic shots. This expert level of filmmaking not only challenges conventional visual storytelling but also immerses the viewer in a fun, quirky, yet unsettling experience, making them question the very fabric of their own perceived reality. The visual choices are not mere stylistic flourishes but integral components of the narrative, designed to evoke specific psychological states.
F1: Redefining High-Speed Cinematography
Cameras Used: Sony Venice 2, Carmen (Custom Prototype), DJI Ronin 4D
The cinematography of F1, led by the Oscar-winning Claudio Miranda, represents a massive leap in practical action filmmaking, particularly in capturing authentic high-speed sequences. Building on the groundbreaking techniques pioneered for Top Gun: Maverick, the production pushed boundaries by mounting real cameras to custom-modified Formula 2 cars driven by stars Brad Pitt and Damson Idris at speeds exceeding 150 mph. This ambitious approach necessitated innovative solutions to overcome significant technical challenges. To achieve cinematic quality without compromising the car’s aerodynamics or the driver’s visibility, Miranda collaborated closely with Sony to develop "Carmen"—a bespoke, miniaturized 6K sensor-on-a-stick prototype. This groundbreaking camera system, approximately a quarter of the size of a standard cinema camera like the Sony Venice 2, allowed for unprecedented placement flexibility. These high-tech rigs were strategically distributed across the car’s "halo" and chassis, providing up to seven simultaneous angles with full remote-controlled pan and tilt capabilities. The result is nothing short of spectacular cinematography, offering audiences an immersive, visceral experience of Formula 1 racing previously unattainable. The integration of the DJI Ronin 4D further enhanced stability and dynamic range, ensuring breathtaking footage even under extreme conditions. This collaboration between filmmakers and technology manufacturers exemplifies the industry’s continuous drive to innovate for narrative authenticity.
Hamnet: An Intimate, Observational Gaze
Cameras Used: ARRI Alexa 35
Chloé Zhao’s Hamnet features a strikingly intimate visual language crafted by cinematographer Lukasz Zal, celebrated for his Academy Award-nominated work on Ida and Cold War. In Hamnet, Zal embraces a "ghost camera" perspective—an observational, drifting lens described as "death’s point of view"—scanning scenes with a quiet, non-judgmental weight. This approach, favoring long takes and natural light, draws the audience into the emotional landscape of the characters with profound subtlety. The film was primarily shot on the ARRI Alexa 35, a camera lauded for its exceptional dynamic range, natural color rendition, and film-like image quality, even in challenging low-light conditions. The Alexa 35’s ability to capture nuanced details in shadows and highlights was crucial for Zal’s vision, allowing the visuals to convey a sense of melancholic beauty and historical authenticity without resorting to overt stylization. The choice of the Alexa 35 underscores a trend among cinematographers who seek a sophisticated digital aesthetic that can replicate the organic feel of film while offering the practical advantages of digital workflows. This meticulous visual strategy creates an immersive experience, allowing the story’s emotional depth to unfold through carefully composed, evocative imagery.
Frankenstein: Modernizing Gothic Horror with Large Format
Cameras Used: ARRI Alexa 65
In Guillermo del Toro’s Frankenstein, cinematographer Dan Laustsen employs a sweeping, large-format visual style to modernize the gothic horror aesthetic, creating a world that is both grand and deeply unsettling. The film was shot entirely on the ARRI ALEXA 65, a camera renowned for its massive sensor size (exceeding 65mm film), which delivers unparalleled resolution, shallow depth of field, and a truly immersive cinematic experience. Paired with Leitz THALIA 65 lenses, known for their precise yet painterly rendering, Laustsen relied heavily on a 24mm wide-angle lens for nearly 90% of its shots. This wide-angle preference, combined with the large format, allowed for expansive compositions that frame the monster within vast, oppressive environments, emphasizing its isolation and the scale of its tragedy. To temper the inherent digital sharpness of the ALEXA 65 and infuse a classic filmic softness, Laustsen utilized custom Black Pro-Mist diffusion filters placed behind the lens. This technique subtly "burns out" highlights while meticulously preserving the deep, rich blacks essential to the film’s moody, chiaroscuro atmosphere. The result is a visually stunning interpretation that respects the gothic roots of the story while pushing the boundaries of contemporary digital cinematography, creating a timeless yet modern horror aesthetic.
Marty Supreme: A Painterly Ode to Film
Cameras Used: Arricam LT, ST, SR, Bolex
In Josh Safdie’s Marty Supreme, cinematographer Darius Khondji consciously disregards modern digital aesthetics in favor of a richly textured, "painterly" 35mm look. This decision reflects a growing trend among certain filmmakers to return to the tactile, organic qualities of film. Shot primarily on Arricam LT and ST cameras using Kodak Vision3 500T film stock, the production embraced the unique grain, color rendition, and latitude that film provides. Khondji further enhanced this vintage feel by utilizing vintage Panavision B and C Series anamorphic lenses, which are known for their distinctive oval bokeh, subtle optical imperfections, and wide cinematic aspect ratio. Khondji’s visual strategy heavily centers on tight telephoto shots, employing exceptionally long lenses (up to 360mm) to capture suffocating, expressive close-ups of Timothée Chalamet. This telephoto approach creates a shallow depth of field that meticulously isolates Marty from his environment, making him appear "larger than life" while simultaneously simulating the observational feel of his challenges in the high-stakes world of table tennis. The combination of classic film stock, vintage anamorphic glass, and a deliberate telephoto strategy creates a unique visual intimacy and intensity, immersing the audience in Marty’s psychological state and the pressurized environment he navigates. The inclusion of a Bolex camera for select sequences further underlines the commitment to an analogue, handcrafted aesthetic.
One Battle After Another: Reimagining 70s Gritty Realism
Cameras Used: Beaumont Vistavision, Panavision Millennium XL2
"One Battle After Another," a standout nominee, revives the venerable VistaVision format to capture a gritty, 1970s-inspired political thriller with stunning authenticity. This film’s choice of VistaVision, a large-format 35mm motion picture film format that uses standard 35mm film stock run horizontally through the camera, echoes its use in classics like Vertigo and Star Wars, chosen for its superior image quality. The film employs a distinctive 1.50:1 aspect ratio with large negative spacing throughout, directly inspired by the raw, impactful cinematography of 1970s classics such as The French Connection. To further cement this specific textural feel, Panavision’s renowned optical engineer Dan Sasaki developed a custom set of prototype spherical lenses, affectionately dubbed "GWs." These lenses were meticulously designed to emulate the unique optical characteristics of the glass used by legendary cinematographer Gordon Willis, celebrated for his iconic work on films like The Godfather Part II and All the President’s Men. This meticulous attention to detail, from format to custom lenses, allows the film to highlight detailed California landscapes while simultaneously employing suffocating, long-lens close-ups that immerse the viewer in the tension. The use of the Panavision Millennium XL2, a versatile 35mm camera, complemented the VistaVision sequences by providing flexibility for more dynamic scenes, maintaining a consistent filmic aesthetic. "One Battle After Another" thus achieves the rare feat of feeling like a modern masterpiece that simultaneously resonates as a rediscovered classic from the cinematic golden age of the ’70s or ’80s.
Train Dreams: Photographic Memory and Natural Light
Cameras Used: ARRI Alexa 35
In Train Dreams, cinematographer Adolpho Veloso crafts a poignant visual language deeply rooted in "photographic memory," utilizing a rare 3:2 aspect ratio to evoke the feel of vintage still portraits from the early 20th century. This deliberate aesthetic choice immediately sets a contemplative, almost archival tone for the narrative. The film was shot digitally on the ARRI Alexa 35, a testament to the camera’s ability to achieve a film-like texture and nuanced color palette. Veloso’s approach embraced almost exclusively natural light, augmented only by real campfires and candles as practical lighting sources. This commitment to organic illumination imbues the film with a textured, more authentic, and deeply immersive feel, allowing the natural environment to play a crucial role in shaping the visual mood. The Alexa 35’s exceptional low-light performance and dynamic range were indispensable here, enabling the capture of rich detail and atmospheric shadows without artificial enhancement. This methodology not only honors the historical period depicted but also fosters a profound connection between the audience and the film’s characters, making their experiences feel immediate and deeply personal. The visual style of Train Dreams is a powerful example of how digital tools can be used to achieve deeply organic and historically resonant aesthetics, pushing the boundaries of digital cinematography to mimic the artistry of classical photography.
Sentimental Value: Dual Formats for Narrative Depth
Cameras Used: ARRICAM Lt 35mm
Joachim Trier’s Sentimental Value (2025), with cinematography by Kasper Tuxen, employs a sophisticated dual-format visual strategy to navigate its intricate themes of memory, family, and reconciliation. The primary narrative, unfolding in the present, is captured on 35mm Kodak film using the reliable ARRICAM LT and Cooke 5/i lenses. This choice of film stock and classic lenses provides a rich, warm, and naturalistic aesthetic, offering a timeless quality that underscores the enduring nature of familial bonds and memories. The ARRICAM LT, a workhorse in film production, provides stability and precision, ensuring consistent image quality. To visually distinguish the film-within-a-film sequences and historical flashbacks, the production made a deliberate shift to 16mm film and applied a bleach bypass process. This technique, which omits or reduces the bleaching stage during film processing, retains silver in the emulsion along with color dyes, resulting in a desaturated, high-contrast, and often "crustier" or grainier look. This stark visual contrast effectively signals a shift in time and narrative perspective, enhancing the film’s exploration of fragmented memories and the interplay between past and present. Tuxen’s masterful use of these distinct formats serves not just as a stylistic choice but as a powerful narrative device, deepening the audience’s engagement with the film’s complex emotional landscape.
Secret Agent: Vibrant Palettes and Historical Immersion
Cameras Used: ARRI Alexa 35
In The Secret Agent, cinematographer Evgenia Alexandrova uses a vibrant and often oppressive palette to render the humid, politically charged atmosphere of 1970s Brazil. Shot primarily on the ARRI Alexa 35 and paired with vintage Panavision B Series anamorphic lenses, the cinematography leans into a "360-degree" philosophy. This approach prioritizes wide shots that capture the historical textures of Recife and São Paulo, immersing the audience in the bustling, often chaotic environments of the era. The anamorphic lenses contribute to a widescreen, cinematic feel, with their characteristic lens flares and shallow depth of field adding to the film’s distinctive aesthetic. Alexandrova’s lighting strategy is particularly notable, utilizing saturated primary colors and a distinctive reddish undertone in the shadows. This creates a "woozy," nostalgic heat that pervades the film, reflecting both the physical climate and the political tension of the period. The ARRI Alexa 35’s robust color science allowed for precise control over this vibrant yet often suffocating color palette, ensuring that the historical setting felt authentic and alive. This film exemplifies how color and composition can be leveraged not just for aesthetic appeal, but as integral narrative elements, deepening the audience’s understanding of the historical and emotional context.
Sinners: Towering Dread in Large Format IMAX
Cameras Used: IMAX MSM 9802, MKIV, Panavision System 65
In Ryan Coogler’s Sinners, cinematographer Autumn Durald Arkapaw crafts a gothic aesthetic that anchors supernatural horror in a tangible, historical reality. The film was shot entirely on IMAX-certified digital cameras, specifically utilizing the IMAX MSM 9802 and MKIV, paired with custom-tuned Panavision Specho spherical lenses. This commitment to IMAX capture is evident in the film’s most sequence-heavy moments, where an ultra-wide 1.43:1 aspect ratio is employed. This expansive format, typical of IMAX presentations, creates a profound sense of "towering dread," immersing viewers in the early 1900s South with unparalleled scope and detail. The Panavision System 65 further contributed to the film’s large-format pedigree, ensuring consistency across various shooting requirements. Durald Arkapaw’s lighting strategy deliberately avoids the "Hollywood blue" of typical night scenes, opting instead for a "true black" philosophy. This means characters are often silhouetted against flickering firelight or the harsh, singular glare of period-accurate lanterns. This high-contrast approach creates a powerful visual effect, starkly separating the twin protagonists from the encroaching shadows that seemingly house the film’s monstrous threats. The stark contrast between the subjects and their scenes creates an unsettling uneasiness that permeates the entire film, enhancing its horror elements through masterful use of light and shadow, and maximizing the immersive power of the IMAX format.
Broader Trends and Industry Impact
The 98th Academy Awards nominees in cinematography highlight several significant trends shaping the film industry. The continued dominance of ARRI Alexa cameras, particularly the Alexa 35 and Alexa 65, underscores their versatility, dynamic range, and exceptional image quality, making them a preferred choice for a vast spectrum of productions. However, the resurgence of film, as seen in Marty Supreme and Sentimental Value, demonstrates a renewed appreciation for its organic texture and unique aesthetic properties, often combined with vintage lenses to achieve specific period looks.
Innovation in custom camera development, exemplified by the "Carmen" prototype for F1, showcases the deep collaboration between filmmakers and manufacturers to push technical boundaries for narrative realism. This bespoke engineering is a testament to the fact that standard off-the-shelf equipment, while powerful, sometimes cannot meet the most ambitious creative visions. Furthermore, the deliberate use of specific aspect ratios and large formats (VistaVision, IMAX, ARRI Alexa 65) across multiple nominees reflects a desire for heightened immersion and a more expansive cinematic experience, moving beyond conventional framing.
The nuanced use of diffusion filters (Frankenstein), natural light (Train Dreams), and dual-format strategies (Sentimental Value) demonstrates that modern cinematography is not just about capturing the sharpest image, but about crafting specific textures, moods, and visual languages that are deeply integrated with the film’s thematic core. These choices not only serve the individual films but also inspire future generations of cinematographers to experiment, innovate, and redefine the art of visual storytelling. The industry’s investment in both advanced digital tools and the preservation of classic film techniques ensures a rich and diverse future for cinematic expression.
The extraordinary technical and artistic achievements showcased by this year’s Academy Award nominees in cinematography serve as a powerful reminder of the craft’s vital role in filmmaking. Each frame, meticulously composed and captured, contributes significantly to the emotional depth, narrative impact, and overall immersive experience of a film. The blend of cutting-edge technology and time-honored techniques ensures that the art of cinematography continues to evolve, pushing creative boundaries and captivating audiences worldwide.
Sources: American Cinematographer, Leitz-Cine, MotionPictures.org, Kodak
