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Monday, February 28, 2011

What the Oscars nominated movies were shot and edited with

I don't care if the Oscar winner was cut on FCP, Avid or Lightworks. All I care about is the engrossing story that takes me away.
-@editblog

While I agree, I still think it is interesting to know what people are using to create things. The following is a list of acquisition methods, software and (some) lenses used for some of the Oscar nominated movies.

The majority of this information is extracted from a post by "Warren" at the International Colorist Academy: 2011 Oscars Best Picture Who Graded Them? I've reformatted it to make it more understandable.


ACQUISITION

RED One
  • Winter's Bone
  • The Social Network

Film
  • True Grit (35mm Film (3 perf))
  • Black Swan (16mm Film Fuji)
  • Inception (35/65mm Film)
  • The Fighter (35mm Film Fuji)
  • The King's Speech (35mm Film Fuji)
  • The Kids Are Alright (35mm Film Kodak )

Mixed
  • 127 Hours (Canon 5D/7D/SI2K Mini/35mm Film)

EDITING
[Only found limited information]
  • The Social Network (Best Editing - Final Cut Pro)
  • The King's Speech (Best Picture - Lightworks)
  • True Grit (Final Cut Pro)


COLOR GRADING

Blackmagic Design's DaVinci Resolve
  • Alice in Wonderland
  • The Fighter
  • The Kids Are Alright
  • Hereafter

Filmlight Baselight
  • 127 Hours*
  • The King's Speech
* Warren notes that "Soret called it the most challenging color job of his career because of the vast number of mixed camera formats Boyle used."


Autodesk Lustre
  • True Grit
  • Black Swan
  • Winter's Bone

Quantel Pablo
  • The Social Network


LENSES
Zeiss announced on FaceBook that the following films used Zeiss lenses:
  • The King's Speech (Master Prime)
  • The Fighter (Master Prime)
  • 127 Hours (Ultra Prime)
  • Black Swan (Ultra Prime 16, Master Prime 100)
  • The Social Network (Master Prime)
  • The Kids are all Right (Ultra Prime)


Resources:

[UPDATED: Added True Grit to Editing list]

1 comment:

H. Paul said...

Small point, but Matthew Libatique used Canon DSLRs for a few run-and-gun sequences in Black Swan, including the construction walkway at Lincoln Center when Natalie Portman sees herself.