Mad Max: Fury Road director, George Miller and crew.
ARRI digital and film cameras played a crucial role in the creation of many of the films that dominated this year's Academy Awards.
Best Picture honours went to Spotlight, directed by Thomas McCarthy and lensed by cinematographer Masanobu Takayanagi on ALEXA XT.
The drama, based on the true story of the Pulitzer Prize-winning Boston Globe investigation, also won for Original Screenplay.
Following victories at the ASC and BAFTA Awards, Emmanuel 'Chivo' Lubezki ASC, AMC won his third consecutive Oscar for The Revenant – an unprecedented achievement in the Best Cinematography category.
Lubezki won last year for Birdman and in 2014 for Gravity.
The Revenant used ALEXA XT, ALEXA M and Master Primes, as well as ALEXA 65 cameras and Prime 65 lenses for selected sequences.
This is the fifth year in a row that the Best Cinematography winner relied on an ALEXA camera.
The Revenant was also honored in the Best Directing category for Alejandro G. Iñárritu and with a Best Actor statue for Leonardo DiCaprio.
Mad Max: Fury Road won six awards in Production Design, Film Editing, Sound Mixing, Sound Editing, Costume Design, and Makeup and Hairstyling.
Directed by George Miller, the film was captured by John Seale ACS, ASC with ALEXA Plus and ALEXA M cameras.
Son of Saul, which won the the award for Best Foreign Film, was directed by László Nemes and shot in 35 mm by Mátyás Erdély on ARRICAM LT and ARRIFLEX 235 cameras, and Master Prime lenses.
The film also tied for the ASC Spotlight Award earlier this month with Macbeth.