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The winners of the Oscar for Best Cinematography for the last 54 years as a supercut

[19:53 Tue,28.February 2023   by Thomas Richter]    

In about 2 weeks, the 95th Academy Awards will take place - a good opportunity to take a look at the previous winners of the category "Best Cinematography", which is particularly interesting for filmmakers. In the following clip, all winners from 1967 to 2021 are edited together.





Interestingly, before 1967, there were separate "Best Cinematography" Oscars for color and black-and-white films - the last B&W Oscar was won by Haskell Wexler for "Who&s Afraid of Virginia Woolf?". That&s why this supercut of Best Cinematography winners from 1929 to 2017 is a nice addition, as it also includes the separate color and B&W Oscars:



Previous winners of the Best Cinematography Oscar include both some of the best and most successful films in film history, such as "Ben Hur" (1959), "Bonnie and Clyde" (1967), "Lawrence of Arabia" (1962), "To Catch a Thief" (1955), "Avatar" (2009), "The Godfather" (1973), "Apocalypse Now" (1980), "Schindler&s List" (1993), "Titanic" (1997) and "Barry Lyndon" (1975) - while other winning films have been forgotten. Over the years, the Oscar for Best Cinematography has become an important indicator of a film&s visual quality and remains an important part of the annual Academy Awards.


Best-Cinematography



Wer gewinnt dieses Jahr den Oscar für die beste Kamera? Nominiert sind die folgenden Filme bzw. Kameraleute (unten zusammen aufgeführt mit den von ihnen verwendeten Kam eras und Objektiven) aus unserer Übersicht Mit welchen Kameras wurden die für den Oscar 2023 nominierten Filme gedreht?. Mit Mandy Walker ("Elvis") hat nach Chloé Zhao, die 2021 mit "Nomadland" gewonnen hat, zum zweiten Mal eine Frau die Chance den Best Cinematography Oscar zu gewinnen.

"All Quiet on the Western Front"
Regie: Edward Berger
Kamera: James Friend
Produzent: Malte Grunert
Verwendete Kamera und Objektive:
ARRI Alexa 65, ARRI Prime 65SARRI
Alexa Mini LF, ARRI Prime DNA, Tribe7 Blackwing7 und Zeiss Compact Prime CP.3
Red Weapon Monstro, ARRI Prime DNA (Plates für visuelle Effekte)
Sony CineAlta Venice, ARRI Prime DNA



"Bardo, False Chronicle of a Handful of Truths"
Kamera: Darius Khondji
Regie: Alejandro G. Iñárritu
Verwendete Kamera und Objektive:
ARRI Alexa 65, Panavision 65 Vintage, Tribe7 Blackwing7 und Canon FD-L



"Elvis"
Regie: Baz Luhrmann
Kamera: Mandy Walker
Produzent: Baz Luhrmann, Catherine Martin, Gail Berman, Patrick McCormick und Schuyler Weiss
Verwendete Kamera und Objektive:
ARRI Alexa 65, Panavision Primo, Sphero 65, T-Series "Elvis" und Petzval
ARRI Alexa LF, Panavision Sphero 65 und T-Series "Elvis"



"Empire of Light"
Regie: Sam Mendes
Kamera: Roger Deakins
Verwendete Kamera und Objektive:
ARRI Alexa Mini LF, ARRI Signature Prime, Cooke S7/i



"Tár"
Regie: Todd Field
Kamera: Florian Hoffmeister
Verwendete Kamera und Objektive:
ARRI Alexa 65, ARRI Signature PrimeARRI Alexa Mini LF, ARRI Signature Prime


Link more infos at bei www.youtube.com

deutsche Version dieser Seite: 54 x Beste Kamera: Supercut der Oscar-Gewinner

  



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deutsche Version dieser Seite: 54 x Beste Kamera: Supercut der Oscar-Gewinner



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