{"id":155901,"date":"2021-06-23T12:07:22","date_gmt":"2021-06-23T17:07:22","guid":{"rendered":"https:\/\/www.premiumbeat.com\/blog\/?p=155901"},"modified":"2021-06-23T12:07:23","modified_gmt":"2021-06-23T17:07:23","slug":"cameras-behind-marvel-cinematic-universe-phase-four","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/cameras-behind-marvel-cinematic-universe-phase-four\/","title":{"rendered":"The Cameras and Lenses Behind the Marvel Cinematic Universe\u2014Phase Four"},"content":{"rendered":"\n

Dynamic lighting. Explosive energy. Here are the cameras used to capture Phase Four of the Marvel Cinematic Universe.<\/span><\/h2>\n\n\n\n

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.<\/p>\n\n\n\n

This was quite the journey back through time\u2014and through tons of research\u2014into the production of each film. We’ve already covered Phase One<\/a> (2008-2012), Phase Two<\/a> (2013-2015), and Phase Three<\/a> (2016-2019). Let’s dive into Phase Four\u2014films and television series.<\/p>\n\n\n\n

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WandaVision<\/span><\/h3>\n\n\n\n
\"WandaVision<\/a>
On the set of<\/em> WandaVision<\/a>. Image via Disney+<\/a>.<\/em><\/figcaption><\/figure>\n\n\n\n

Head Writer:<\/strong> Jac Schaeffer<\/a>
Director:<\/strong> Matt Shakman<\/a>
Director of Photography: <\/strong>Jess Hall<\/a>
Camera Package:<\/strong> ARRI Alexa LF<\/a> \/ 47 different vintage and modern lenses<\/p>\n\n\n\n

We previously covered WandaVision<\/em><\/a> being captured on the ARRI Alexa LF using an astounding forty-seven different lenses. <\/p>\n\n\n\n

One of the things that I did very early on was say, \u201cI\u2019ve got to simplify this show somehow.\u201d When you\u2019re working on a production, it\u2019s busy. You don\u2019t want too many elements. I didn\u2019t 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.<\/p>– Jess Hall via Film School Rejects<\/a><\/em><\/cite><\/blockquote>\n\n\n\n

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The Falcon and the Winter Solider<\/span><\/h3>\n\n\n\n
\"The<\/a>
Taking notes on the set of <\/em>The Falcon and the Winter Solider<\/a>. Image via Disney+.<\/em><\/figcaption><\/figure>\n\n\n\n

Head Writer:<\/strong> Malcolm Spellman<\/a>
Director:<\/strong> Kari Skogland<\/a>
Director of Photography: <\/strong>P.J. Dillon<\/a>
Camera Package:<\/strong> Panavision Millennium DXL2<\/a>, Blackmagic Design Pocket Cinema Camera 6K<\/a>, Panavision Primo 70, T-Series \/ Zeiss Master Prime Lenses<\/p>\n\n\n\n

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.<\/p>

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>– P.J. Dillon via Screen Rant<\/a><\/em><\/cite><\/blockquote>\n\n\n\n

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Loki<\/span><\/h3>\n\n\n\n
\"Loki<\/a>
Consulting on the set of <\/em>Loki<\/a>. Image via Disney+.<\/em><\/figcaption><\/figure>\n\n\n\n

Head Writer:<\/strong> Michael Waldron<\/a>
Director:<\/strong> Kate Herron<\/a>
Director of Photography: <\/strong>Autumn Durald<\/a>
Camera Package:<\/strong> Sony CineAlta Venice, Phantom Flex4K<\/a> \/ Panavision C- and T-Series Lenses<\/p>\n\n\n\n

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Black Widow<\/span><\/h3>\n\n\n\n
\"Black<\/a>
Conferring on the set of<\/em> Black Widow<\/a>. Image via Disney+.<\/em><\/figcaption><\/figure>\n\n\n\n

Director:<\/strong> Cate Shortland<\/a>
Director of Photography: <\/strong>Gabriel Beristain<\/a>
Camera Package:<\/strong> Panavision Millennium DXL2, Sony CineAlta Venice, Phantom Flex4K, Panavision Primo 70, C-, E-, H-Series \/ Panaspeed Lenses<\/p>\n\n\n\n

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Shang-Chi and the Legend of the Ten Rings<\/span><\/h3>\n\n\n\n
\"Shang-Chi<\/a>
Action pose from <\/em>Shang-Chi and the Legend of the Ten Rings<\/a>. Image via Walt Disney Studios<\/a>.<\/em><\/figcaption><\/figure>\n\n\n\n

Director:<\/strong> Destin Daniel Cretton<\/a>
Director of Photography: <\/strong>Bill Pope<\/a>
Camera Package:<\/strong> ARRI ALEXA LF IMAX<\/a>, ARRI ALEXA Mini LF IMAX \/ Panavision Primo and Sphero 65 Lenses<\/p>\n\n\n\n

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Eternals<\/span><\/h3>\n\n\n\n
\"Eternals<\/a>
An ethereal scene from<\/em> Eternals<\/a>. Image via Walt Disney Studios.<\/em><\/figcaption><\/figure>\n\n\n\n

Director:<\/strong> Chlo\u00e9 Zhao<\/a>
Director of Photography: <\/strong>Ben Davis<\/a>
Camera Package:<\/strong> RRI ALEXA LF IMAX, ARRI ALEXA Mini LF IMAX \/ ARRI Signature Prime Lenses<\/p>\n\n\n\n

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Spider-Man: No Way Home<\/span><\/h3>\n\n\n\n
\"Spider-Man:<\/a>
A scene from the upcoming<\/em> Spider-Man: No Way Home<\/a>. Image via Columbia Pictures<\/a>.<\/em><\/figcaption><\/figure>\n\n\n\n

Director:<\/strong> Jon Watts<\/a>
Director of Photography:<\/strong> Unknown
Camera Package:<\/strong> COMING SOON<\/p>\n\n\n\n

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Doctor Strange in the Multiverse of Madness<\/span><\/h3>\n\n\n\n

Director:<\/strong> Sam Raimi<\/a>
Director of Photography:<\/strong> John Mathieson<\/a>
Camera Package:<\/strong> COMING SOON<\/p>\n\n\n\n

COMING SOON<\/p>\n\n\n\n

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Thor: Love and Thunder<\/span><\/h3>\n\n\n\n

Director:<\/strong> Taika Waititi<\/a>
Director of Photography:<\/strong> Unknown
Camera Package:<\/strong> ARRI ALEXA LF IMAX, ARRI ALEXA Mini LF IMAX \/ ARRI DNA LF Lenses<\/p>\n\n\n\n

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A post shared by Taika Waititi (@taikawaititi)<\/a><\/p><\/div><\/blockquote>