The Cameras and Lenses Behind the Marvel Cinematic Universe—Phase Four
Dynamic lighting. Explosive energy. Here are the cameras used to capture Phase Four of the Marvel Cinematic Universe.
I was curious about which camera was most used throughout the production process of the Marvel Cinematic Universe (MCU), so I took a deep dive into each of the films to find out.
This was quite the journey back through time—and through tons of research—into the production of each film. We’ve already covered Phase One (2008-2012), Phase Two (2013-2015), and Phase Three (2016-2019). Let’s dive into Phase Four—films and television series.
WandaVision
Head Writer: Jac Schaeffer
Director: Matt Shakman
Director of Photography: Jess Hall
Camera Package: ARRI Alexa LF / 47 different vintage and modern lenses
We previously covered WandaVision being captured on the ARRI Alexa LF using an astounding forty-seven different lenses.
One of the things that I did very early on was say, “I’ve got to simplify this show somehow.” When you’re working on a production, it’s busy. You don’t want too many elements. I didn’t want a bunch of vintage cameras that were going to breakdown in the heat or the rain. It had to have a bulletproof and efficient system. I made the call to use one camera platform throughout.
– Jess Hall via Film School Rejects
The Falcon and the Winter Solider
Head Writer: Malcolm Spellman
Director: Kari Skogland
Director of Photography: P.J. Dillon
Camera Package: Panavision Millennium DXL2, Blackmagic Design Pocket Cinema Camera 6K, Panavision Primo 70, T-Series / Zeiss Master Prime Lenses
I think the biggest task was we were making a TV show but trying to emulate the movies that have come before, in terms of production values, in terms of scale, in terms of stunts, and all of those things. We were trying to do it in less time and with a smaller budget.
So, it was a challenge, but one that we were very conscious of and that we embraced. When I say we, I mean the entire production. It was a great experience.
– P.J. Dillon via Screen Rant
Loki
Head Writer: Michael Waldron
Director: Kate Herron
Director of Photography: Autumn Durald
Camera Package: Sony CineAlta Venice, Phantom Flex4K / Panavision C- and T-Series Lenses
Black Widow
Director: Cate Shortland
Director of Photography: Gabriel Beristain
Camera Package: Panavision Millennium DXL2, Sony CineAlta Venice, Phantom Flex4K, Panavision Primo 70, C-, E-, H-Series / Panaspeed Lenses
Shang-Chi and the Legend of the Ten Rings
Director: Destin Daniel Cretton
Director of Photography: Bill Pope
Camera Package: ARRI ALEXA LF IMAX, ARRI ALEXA Mini LF IMAX / Panavision Primo and Sphero 65 Lenses
Eternals
Director: Chloé Zhao
Director of Photography: Ben Davis
Camera Package: RRI ALEXA LF IMAX, ARRI ALEXA Mini LF IMAX / ARRI Signature Prime Lenses
Spider-Man: No Way Home
Director: Jon Watts
Director of Photography: Unknown
Camera Package: COMING SOON
Doctor Strange in the Multiverse of Madness
Director: Sam Raimi
Director of Photography: John Mathieson
Camera Package: COMING SOON
COMING SOON
Thor: Love and Thunder
Director: Taika Waititi
Director of Photography: Unknown
Camera Package: ARRI ALEXA LF IMAX, ARRI ALEXA Mini LF IMAX / ARRI DNA LF Lenses
Updates to come! Stay tuned for more news on the MCU’s Phase Four as we find out.
Need a little more action? Take a look at these dynamic articles:
- From “Apocalypse Now” to “Lethal Weapon”: An Action Film Genre Breakdown
- The Most Insane Camera Moves Pulled Off During an Action Sequence
- Up the Ante in Action Sequels Through Character Development
- Why Every Good Action Film Is Actually a Love Story
- What Makes 80s and 90s Action Movies So Iconic?
Cover image via Walt Disney Studios.
