DIGITAL CAMERAS AND LENSES USED FOR FEATURE FILMS IN 2023

Documentary cinematographer Arlene Nelson collaborated with fellow cinematographers Emily Topper, Turner Jumonville, Yamit Shimonovitz, and Sherri Kauk. Keeping the equipment minimal and unobtrusive was crucial. "The goal was to blend seamlessly into the surroundings, maintaining a small and unobtrusive presence. We utilized Canon EOS C500 and C300 cameras along with Canon CN-E prime lenses for this project," explained Emily Topper in ASC Magazine. To capture the games, a Canon CN-E 30-300mm (T2.95-3.7) zoom lens with a 2x optical extender was included in the equipment. Arlene Nelson opted for Sony PXW-FX9 and ILME-FX6 cameras for the principal photography, complemented by a set of TLS-rehoused Canon FD prime lenses and Angénieux zoom lenses. During the matches, she employed three to four camera teams, incorporating additional FX9 and Arri Amira cameras.

DP Kramer Morgenthauchose to shoot with Sony Venice cameras. And certain sections with the Phantom Flex4K, whose high-speed capabilities enabled him to create an ultra-slow-motion recording of some of the major moments in the fights.

Morgenthau opted for a lens package that included both anamorphic and spherical optics (Panavision T-series and Primo lenses) to complement different aspect ratios and filming requirements, aiming to create a visually compelling narrative.

DP's Checco Varese and and Jeff Cutter decided to shoot most of Daisy Jones with the Sony Venice in 6K 17:9 Full Frame and cropped for a final presentation in the 2.39:1 aspect ratio. “Shooting with a large sensor gives you the ability to use very shallow focus, and I’ve been experimenting with that a lot,” Varese says.

A couple of Sony FX3 cameras with Zeiss and Sony lenses, were used on of shots in tight quarters and difficult locations.

Lenses used: Angénieux Optimo Primes and zooms.

DP's Jody Lee Lipes and Laura M. Gonçalves paired the Venice camera with Panavision G Series anamorphic lenses and shot in 2.39:1 aspect ratio to make it stylized and pushed beyond reality.

The lights could be running at only 25-percent output, which is all they needed shooting with the Venice at an exposure index of 6,400 ISO in the 2,500 ISO base mode.

DP Federico Cantini used the Sony Venice paired with Panavision Panaspeeds: "These large-format lenses that were customized specifically for the movie — to replicate the Panavision Super Speed look of that era, but keep the bigger-than-life effect of the large format." he says. Cantini also toggled between two Panavision Primo zooms.

DP's Jaron Presant and Steve Yedlin used Arri Alexa Minis paried with Zeiss Supreme Primes and Fujinon Premista zooms. They formed the cinematographic throughline from episode to episode.

DP Steven Holleran used Venice 2 8.6K cameras with Panavision Panaspeed prime lenses. The background plates were captures using eight Sony a7S III mirrorless cameras set at 12,800 ISO with Zeiss Batis 18mm f/2.8 prime lenses

To give the camerawork a light feel DP Ksenia Sereda operated a handheld Arri Alexa Mini with Cooke S4/i prime lenses, in a configuration she calls 'Backpack Mode'. As Sereda explains: "We took everything that is possible off the camera — batteries and antennas — and everything went in a backpack." This backpack was carried by dolly grip Paul Sheridan, so the operator only had the camera with a lens and a monitor in their hands, or on the shoulder.

DP Xavier Grobet selected the Arri Alexa Mini and Panavision Primo lenses. "I love the feel of the Alexa Mini in conjunction with the Primo lenses. I got the film look and feel, which differs from the digital world, that was most to my liking."

After testing several camera options for pool and ocean scenes, he opted for a Blackmagic Pocket Cinema Camera 6K, set to 4K capture, and 16-35mm and 24-70mm Canon EF zooms.