When analyzing the cameras behind Oscar 2021, we explore a vast amount of large format cameras. When comparing it to the cameras that shot the Oscar 2020 films, we can see the opposite of tendency. For instance, have a look at the slide below which demonstrates two pie charts (Oscar’s cameras 2020 vs. 2021). In the 92nd Academy Awards, most of the cameras used to shoot the films were Super 35, compared to 93rd Academy Awards that is dominated by large format cameras. Indeed, the majority of cameras in Oscar 2021 contain large sensors. Can we conclude that Super 35 is obsolete? Of course not. In fact, in a Cinematography Reddit thread, an insightful conversion was focused on the large format fatigue which concentrates on the extreme shallow unnatural look derived from large sensors.
The Artistic Fatigue of Large Format Cinematography – Y.M.Cinema – News & Insights on Digital Cinema
Are we already developing some kind of large-format fatigue? It seems that those big sensors have conquered the cinematography world since many productions demand the “large-format look”. However, shooting large format holds significant disadvantages that cinematographers must be aware of, before causing artistic fatigue among audiences.