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The Cameras and Lenses Behind the Marvel Cinematic Universe—Phase Four

Mike Maher

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

WandaVision Scene
On the set of WandaVision. Image via Disney+.

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

The Falcon and the Winter Soldier
Taking notes on the set of The Falcon and the Winter Solider. Image via Disney+.

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

Loki
Consulting on the set of Loki. Image via Disney+.

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

Black Widow
Conferring on the set of Black Widow. Image via Disney+.

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

Shang-Chi and the Legend of the Ten Rings
Action pose from Shang-Chi and the Legend of the Ten Rings. Image via Walt Disney Studios.

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

Eternals
An ethereal scene from Eternals. Image via Walt Disney Studios.

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

Spider-Man: No Way Home
A scene from the upcoming Spider-Man: No Way Home. Image via Columbia Pictures.

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

Thor: Love and Thunder—gotta love the thunder!

Updates to come! Stay tuned for more news on the MCU’s Phase Four as we find out.


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Cover image via Walt Disney Studios.

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