"Guardians of the Galaxy: Christmas Special" has landed on Disney+ on November 25, 2022, telling the story that Christmas is coming, Star-Lord is still heartbroken by the loss of Gamora, and Mantis Girl, Destroyer, Nebula, Kragrin, Rocket Raccoon and Groot have teamed up to give Star-Lord a Christmas surprise gift.
In ten years, Marvel drew the grand Marvel Cinematic Universe through three stages, during which 22 films were filmed and produced. This article takes you back to the behind-the-scenes heroic set stories of 22 films, such as shooting equipment and director of photography.
The first phase of the Marvel Universe
The first phase of the Marvel Universe includes "Iron Man", "The Incredible Hulk", "Iron Man 2", "Thor", "Captain America", "Avengers" five films, shot by a number of famous director of photography, shooting equipment including Arri, Panavision, and even Canon 5D2, photographers on the set work is different, there are many stories.
Iron Man (2008)
Matthew Libatik, director of photography for Iron Man
Director: Jon Favreau
Director of Photography: Matthew Libatique
Shooting equipment:
- Arriflex 235 (PanARRI)
- Panavision Panaflex Millennium XL
- Panavision Panaflex Millennium
- Lenses
- Panavision Primo
- Angenieux Optimo 4:1 (17-80mm T2.2) and 12:1 (24-290mm T2.8)
- Cooke 15-40mm T2
- Captured on 35 mm (Kodak Vision2 200T 5217, Vision2 500T 5218)
"Iron Man", as the pioneering work of the Marvel Universe, has achieved unprecedented success in global word-of-mouth and box office win-win, not only allowing Downey, who was gradually dimming the starry back to the peak of his career, but also giving Marvel's grand universe plan a booster - the superhero series gradually kicked off.
Referring to the great success of "Iron Man" and the cinematography of the film, director of photography Matthew Libatik said: "Photography is usually to let the characters play their true colors, Downey is an actor who is good at improvisation, which is the same as my way of photography, director Favreau also gave Downey free play, and there were a lot of large-scale pictures shot at that time, so my shooting was also improvisational, which was to follow the trend." ”
The Incredible Hulk (2008)
"The Incredible Hulk" director of photography Peter Menzs Jr
Director: Louis Leterril
Director of Photography: Peter Menzies Jr.
Shooting equipment:
- Arriflex 235
- Arriflex 435 ES
- Panavision Panaflex Millennium XL
- Panavision Panaflex Millennium
- Panavision Panaflex Platinum
- Panavision C-Series Lenses
- Captured on 35 mm
Downey makes a cameo appearance in the film
In "The Incredible Hulk", Downey's Iron Man appeared, which was a fairly successful cameo, and the territory of the Marvel Universe took another big step. Director Louis Leterrier said that this cameo was his idea: "We spent a lot of money on post-production, in fact, we spent about the same amount of money on shooting equipment, the shooting time was tight, and the producer would fire the squid if it couldn't be finished." When I knew that Downey played Iron Man, I asked Kevin Feige to let him make a cameo appearance in "The Incredible Hulk", which is the future direction of Marvel movies. Downey was impressed with me and accepted my suggestion, but he said that he only had 5 hours to film, so we made an appointment and completed a crossover of the Marvel Universe in tension. ”
Iron Man 2 (2010)
Director: Jon Favreau
Director of Photography: Matthew Libatique
Shooting equipment:
- Panavision Panaflex Millennium XL2
- Arriflex 435 Advanced
- VistaVision
- Phantom
- Photo-Sonics
- Canon EOS 5D Mark II (some shots)
- Lenses
- Panavision Primo
- Angenieux Optimo Lenses, 15-40mm and 28-76mm
- Captured on 35mm (Kodak Vision2 50D 5201, Vision2 200T 5217, Vision3 500T 5219, Vision 500T 5279)
Jonathan Taylor, director of photography for the second group of "Iron Man 2", was responsible for filming the film's most famous racing track battle, when Downey was driving a sports car and was attacked by the villain's whip.
He used a lot of equipment to shoot this scene, including a high-speed camera tracking car, a Porsche 928 with VistaVision Camera, a photography car, an Arri 435s camera, Canon EOS 5D Mark IIs, a Mercedes-Benz SUV with a Russian rocker arm, a Rolls-Royce full of cameras, and even a helicopter for aerial photography.
Taylor used a small Canon 5D2 to achieve a realistic car impact effect, but where to put it was a problem, and the photographers finally placed it in a special small box and installed it on the race car: "We cut a hole in the box so that the lens could stick out through the hole, and then painted the box the same color as the body, hiding it, so we got a very amazing, realistic shot." ”
"In this scene, we used a pair of Photo-Sonics to capture the impact of the car at high speed, and in addition to setting up the high-speed shooting track, using a VistaVision, a Phantom and two Arri 435s to follow in parallel, which allowed us to make sure that all the racing scenes were foolproof."
"Thor" (2011)
Director: Kenneth Branagh
Director of Photography: Haris Zambarloukos
Shooting equipment:
- Arriflex 435
- Panavision Panaflex Millennium XL2
- Panavision Panaflex Platinum
- Photo-Sonics 4ER
- Lenses
- Panavision G-Series, ATZ, AWZ2 and SP Lenses
- Captured on 35 mm (Kodak Vision2 50D 5201, Vision3 250D 5207, Vision3 500T 5219)
The director of photography of "Thor" recalled that the shooting work and visual effects department had been working closely together, and most of the special effects scenes were shot at Raleigh Studios in Manhattan Beach, California, and before the official shooting, the visual effects department had drawn a preview of the pre-effects, we knew what to shoot, and I often had to work with the CG lighting team until the desired effect was achieved.
In addition, the visual effects department used "Techvis," which is an analog system that simulates the scene before shooting, so I knew how many cameras to use, for example, to shoot a picture 40 feet off the ground, we would need a 50-foot crane. ”
Captain America (2011)
Director: Joe Johnston
Director of Photography: Shelly Johnson
Shooting equipment:
- Arri Alexa
- Arriflex 235
- Arriflex 435
- Canon EOS 5D Mark II
- Panavision Genesis HD Camera
- Panavision Panaflex Millennium XL2
- Lenses
- Panavision Primo Lenses, 27: 275 mm and 17.5: 75 MM zoom, 14.5, 17.5, 21m 27, 35, 40, 50, 75,100 and 150 mm Primes.
- Canon Lenses
- Captured on 35 mm (Kodak Vision2 200T 5217, Vision3 500T 5219), SxS Pro, HD Video
Director of photography Shelley Johnson mainly set the tone of the film with the director before filming, that is, to make this superhero in uniform, wearing a mask and holding a shield more realistic.
The Avengers (2012)
Avengers director of photography Simus McGarvey
"The Avengers" as the first assembly of the original Avengers Six really drove fans crazy, the film was a huge success, and Joss Whedon became a hot first-line director, which is inseparable from the full cooperation of director of photography Simus McGavey.
Director: Joss Whedon
Director of Photography: Seamus McGarvey
Shooting equipment:
- Arri Alexa
- Arriflex 435
- Canon EOS 5D Mark II
- Canon EOS 7D
- Lenses
- Panavision Primo, Primo Zoom (PCZ), Frazier Lenses
- Canon EF Lenses
- Captured on 35 mm (Kodak Vision3 500T 5219), ARRIRAW, HD Video, Codex
Simus McGavey talks about the filming work, saying that it is important to be in tune with the director: "We have the same idea of the final effect of the picture, which is that it must be heartfelt and natural. I wanted the audience to be immersed, and I didn't want the film to look "very comic", which would create a distance for the audience.
When shooting, I used a lot of steadicams, swing arms, cranes, mobile camera vehicles to make the picture more dynamic, and the shooting angle can make the picture dramatic, such as using low-angle shooting to show the hero's height. ”
Marvel Universe Phase II
The second phase of the Marvel Universe - that is, from 2013 to 2015, Marvel filmed and produced "Iron Man 3", "Thor 2: The Dark World", "Captain America 2: The Winter Soldier", "Guardians of the Galaxy", "Avengers 2: Age of Ultron", "Ant-Man" 6 films.
Iron Man 3 (2013)
Director: Shane Black
Director of Photography: John Toll
Shooting equipment:
- ARRI Alexa Studio
- Phantom Flex
- Canon EOS C300 (for VFX)
- Lenses
- Leica Summilux-C
- Fujinon Premier
- Angenieux Optimo Lenses
- Zeiss Master Primes
- Canon EF
- Codex, ARRIRAW
John Thor and Downey on set
The director of photography of "Iron Man 3" is the famous photographer John Toll born in 1952, he is also the director of photography for many classic films such as Mel Gibson's "Braveheart", Terrence Malick's "Thin Red Thread", and is also a film photography master, "Iron Man 3" is the first time John Toll's life used a digital camera.
Thor said, "I was interested in making films with digital cameras. I love film, but obviously there are a whole bunch of reasons to shoot this project with a digital camera, and Iron Man 3 was a great opportunity because I had the resources to do a lot of testing and exploration of digital cameras, and I thought digital cameras were convenient, especially for special effects blockbusters. ”
In the film, the continuous rescue of Iron Man at high altitude has become a classic moment in the Marvel Universe
It is worth mentioning that "Iron Man 3" also uses 6 Canon C300s as recording cameras, which is specially designed to help the early team shoot more favorable lens material for the later stage, and also records and shoots related data and references for the later team, such as capturing the actions of the stuntmen at close range, and then handing it over to the post-production team to produce Iron Man's armor.
Thor 2: The Dark World (2013)
Director: Alan Taylor
Director of Photography: Kramer Morgenthau
Shooting equipment:
- ARRI Alexa Plus
- Phantom Flex
- Red Epic (some shots)
- Canon EOS 5D Mark II (second unit: crash camera)
- Lenses
- Panavision C-, G-Series, ATZ and AWZ2 Lenses
- Canon EF Lenses
- Codex, ARRIRAW, Redcode RAW
Director of photography Kramer Morgan Tower
Thor 2 Director of Photography Kramer Morganta served as Director of Photography for Game of Thrones Season 1, Episode 2 and 2015's Terminator: Genesis.
The filming team went to Iceland to shoot, where there is a natural feature required for the end of the war - black sand beach, Morgan Tower recalled: "Shooting in Iceland is a valuable experience in my film career, we feel like we are filming an epic like "Lawrence of Arabia", when we saw the vast black sand beach like the widescreen, the team was shocked, and instantly had inspiration, the actors were on the black sand beach, it looked so small in the lens, and it was one with nature. ”
Captain America 2: The Winter Soldier (2014)
Director: Russo Brothers
Director of Photography: Trent Opaloch
Shooting equipment:
- ARRI Alexa Plus
- Red Epic
- Lenses
- Panavision C-, E-, G-Series, ATZ and AWZ2 Lenses
- Codex, ARRIRAW
Director of Photography Trent Oppellock
Opellock is the director of photography for the sci-fi film District 9, and he has collaborated with the Russo brothers on four well-received Marvel films, including "Captain America 2: The Winter Soldier", "Captain America 3: Civil War", "Avengers 3" and the popular "Avengers 4: Endgame".
Before filming "American Team 2", Oppellock had experience working with a two-time director, but mainly in advertising, but this experience allowed him to quickly integrate into the Russo brothers team and adapt to the working methods of the brothers' directors.
"I don't mind a situation where a crew has two directors, even if they have different points of view, I don't mind, each crew has its own way of doing things, the cinematographer needs to have the ability to deal with it freely, to be honest, the Russell brothers and the directors cooperate tacitly, communicate smoothly, they have been making movies and TV series together for ten years, and they have already run an excellent workflow."
Before the filming of "American Team 2", the director of photography and the special effects department must work closely together to build a visual preview, use the preview model to simply move, analyze the angle of camera movement, etc., and can be modified at any time, so that ideas and ideas can be communicated well at the start-up, providing a valuable reference for director Russell.
Guardians of the Galaxy (2014)
Director: James Gunn
Director of Photography: Ben Davis
Shooting equipment:
- ARRI Alexa XT Plus
- Lenses
- Panavision Primo
- Cooke Xtal Express
- Angenieux Optimo
- Codex, ARRIRAW
Director of Photography Ben Davis (center)
Ben Davis has participated in a number of Marvel Universe movies, in addition to "Guardians of the Galaxy", he also filmed "Avengers 2", "Doctor Strange", "Captain Marvel", and in 2017, his director of photography "Three Billboards" was nominated for the Academy Award for Best Picture.
He believes that filming "Guardians of the Galaxy" and "Captain Marvel" are completely different, one is referenced, the other is pure fiction: "The story of "Captain Marvel" takes place on the earth in the 90s, and when filming, I benefited from this story background to build a visual language, and it was also the starting point for us to decide the tone of the film and the camera shooting, but "Guardians of the Galaxy" is different, this world is created by us, everything has to start from scratch. ”
Avengers 2: Age of Ultron (2015)
Director: Joss Whedon
Director of Photography: Ben Davis
Shooting equipment:
- ARRI Alexa XT Plus
- Blackmagic Pocket Cinema Camera
- Canon EOS C500
- GoPro HD Hero 3
- Phantom Flex4K
- Red Epic Dragon
- Red Epic
- Lenses
- Panavision Primo Lenses
- Canon Cinema EF Lenses
- Zeiss Super Speed
- Panasonic Lumix G and Lumix GX Vario Lenses
- Codex, ARRIRAW, Redcode RAW, Canon Cinema RAW, Phantom RAW, CinemaDNG RAW
Ben Davis joined director Joss Whedon's "Avengers 2" project after filming "Guardians of the Galaxy", and he felt that the latter was more challenging and the preliminary preparations were very important. "As a photographer, I need to communicate my personal ideas and ideas to the team members and implement them, which is why a big project has to be prepared and communicated, and our goal is to be real – to make the war scene in the third act of the film feel like a war movie. In addition, in order to show the combat power of each superhero, I asked the photographer and the handheld position not to enter the battle scene, but to shoot objectively, and I had to stand at a height to observe the light and stare at the monitor, but I still held a Canon C500 to take some pictures. ”
The classic battle scene of "Avengers 2"
Davis also used BMD's lightweight camera, the Pocket Cinema Camera. "There are two large-scale battles, one at the beginning and one in the third act, and we really wanted to film these battles as if war correspondents were going deep into conflict zones to report on news. We wanted a lightweight camera that could be deployed throughout the scene when shooting battle footage, so that we could get long, high-quality HD footage that matched the main camera footage, and to realize this idea, we used eight Pocket Cinema Camera cameras, fitted with 14mm cookie lenses, some with 12-35mm zoom lenses, and fixed them to the most appropriate place in the scene. ”
Ant-Man (2015)
Director: Peyton Reed
Director of Photography: Russell Carpenter
Shooting equipment:
- ARRI Alexa XT Plus
- ARRI Alexa M (fight sequences, helicopter)
- Canon EOS 5D Mark III (some shots)
- Phantom Flex4K
- Lenses
- Panavision Primo V, 14.5 to 150 mm
- Nova Lenses
- Canon EF Lenses
- Frazier lens
- Codex, ARRIRAW
Photographer Russell Carpenter has served as Director of Photography for James Cameron's True Lies, Titanic, and is currently Director of Photography for Avatar 2.
Director of photography Russell Carpenter
When it comes to "Ant-Man", he and director Reid believe that this is an unprecedented Marvel movie, and the experience of previous Marvel movies cannot be borrowed at all. "Ant-Man's superpower of getting bigger and smaller was so unique that director Reid thought everything had to be reconstructed, the light and macro photography of the film were important, and my gaffer worked closely with art director Sherfield Franco to achieve the best scenes."
Because Ant-Man is only half an inch in size, even if it is shot with the smallest lens, it is many times higher than Ant-Man, and the vibration generated when moving the camera is also a big problem, so Director of Photography Carpenter invited foreign aid to join - macro photography expert Rebecca Baehler.
To shoot the character, which is only half an inch tall, photographer Rebecca Baehler led the macro shooting team to follow Carpenter's first group throughout, using Alexa XT and Vision Research Phantom Flex 4K high-speed cameras to shoot macro environmental panels for Ant-Man's miniature action scenes, Rebecca Baehler recalled: "This time I used a lot of Frazier lenses to get very depth of field images. This lens is smaller than the usual deep focus lens, the lens barrel is also narrower, it is easy to shoot at close range, or in extremely narrow spaces, and it can rotate 360 degrees, in order to make the picture of Ant-Man running into the ant pipe more dynamic, the Frazier lens is distorted upside down and illuminated with 20Ks or light strips. ”
The third phase of the Marvel Universe
The third phase of the Marvel Universe - that is, "Captain America 3: Civil War", "Doctor Strange", "Captain America 2: The Winter Soldier", "Guardians of the Galaxy 2", "Spider-Man: Homecoming", "Thor 3: Ragnarok", "Black Panther", "Ant-Man 2: The Wasp", "Captain Marvel", "Avengers 4: Endgame" and "Spider-Man: Far Home" that will be released in the summer of 2019.
Captain America 3: Civil War (2016)
Director: Russo Brothers
Director of Photography: Trent Oppellock
Shooting equipment:
- ARRI Alexa 65 IMAX (airport and additional scenes)
- ARRI Alexa XT Plus
- GoPro Hero 4 Black
- Red Epic Dragon
- Lenses
- Panavision C-, E-, G-, T-Series, ATZ and AWZ2
- Hasselblad Prime 65
"Captain America 3" is the director of photography Oppellock after "Captain America 2" and then cooperated with the Russo brothers director, Opellock recalled the German airport battle in the movie most vividly remembered him: "This scene in Germany is very critical, and the challenge is great, the German shooting team is very good, everyone worked together to complete the work, this movie has too many actors, they are full of schedules, it is really maddening, such as a dialogue scene between two actors, the film crew filmed a close-up of actor A in a certain country, After a few weeks, flying to another country to shoot the B actor, the difficulty was always dealing with changing weather conditions and maintaining cohesion between the scene.
As for the equipment, we used the large-format ALEXA 65, which was jointly developed by IMAX and ARRI, we shot 15 minutes of IMAX footage in this movie, in addition to Alexa XT and Red Epic Dragon, we also tested this machine, and director Russell decided to continue using this machine in the next "Avengers 3" and "Avengers 4". ”
Doctor Strange (2016)
Director: Scott Draxen
Director of Photography: Ben Davis
Shooting equipment:
- ARRI Alexa 65
- ARRI Alexa Mini
- ARRI Alexa XT Plus
- ARRIFLEX 235
- Panavision Panaflex Millennium XL2
- Phantom Flex4K
- Lenses
- Panavision System 65 and Primo 70 Lenses
- ARRI’s certified 765
Director of photography Ben Davis
Director of Photography Ben Davis, who has worked on several Marvel films, enjoyed experiencing new camera technology, recalling: "There was a lot of new technology coming into the market, and I was most interested in the large-format cameras and supporting post-production processes, as well as a lot of controllable LED fixtures. I tested the Alexa 65, and the resolution of the machine, plus my favorite lens, was pleasantly surprised by the large format and shallower depth of field giving me more choice, more flexibility in lighting and exposure. ”
Guardians of the Galaxy 2 (2017)
Director: James Gunn
Director of Photography: Henry Braham
Shooting equipment:
- RED WEAPON DRAGON VistaVision 8K
- Phantom Flex 4K
- Lenses
- Panavision Primo 70
- Leica Summicron-C Lenses
"Guardians of the Galaxy 2" is the first 8K film, the film's director of photography, Henry Braham, is also a cow, a former Emmy Award winner, nominated for a BAFTA Award, and the director of photography for "Tarzan Returns: Dangerous Jungle" and "Golden Compass".
Based on the big screen and the way of capturing it, director of photography Henry Braham decided to use Red Weapon to shoot 8K. Because the advantage of the RED Weapon is that it is small, the photographer installed it on a newly designed handheld stabilization head, which was designed by a god who had studied torpedo guidance systems, and it acted much like a handheld mobile camera car, so that the camera could move, even if the actor and director decided to be creative on an ad hoc basis, the camera could still easily capture the shot.
Spider-Man: Homecoming (2017)
Director: Joe Watts
Director of photography: Salvatore Totino
Shooting equipment:
- ARRI Alexa Mini
- ARRI Alexa XT Plus
- Lenses
- Cooke S4/i
- Angenieux Optimo
Director of photography, Salvatore Todino
Although the copyright of "Spider-Man" is in the hands of Sony, under the active operation of Marvel, the veteran hero of the Avengers has been successfully incorporated into the Marvel Universe. The film invited the famous director of photography Salvatore Todino as the director of photography, his masterpieces include the classic film "Iron Fist Man", "The Da Vinci Code", etc., he himself is a fan of Cooke lenses, this time the equipment used is ARRI with Cooke and Angenieux Optimo.
Thor 3 (2017)
Director: Taiga Waititi
Director of Photography: Javier Aguirresarobe
Shooting equipment:
- ARRI Alexa 65
- Phantom Flex4K
- Lenses
- Hasselblad Prime 65 Lenses
- Zeiss 765 Lenses
Photographer Garvell Aguirresarobe
"Thor 3: Ragnarok" also invites photography celebrities to join - the famous Spanish photographer Garvell Aguirresarobe has been nominated for 11 Goya Awards and won six awards, and is the director of photography for films such as "Island Horror", "Midnight in Barcelona", "Doomsday Danger" and so on.
Shoot a live lighting map
The film can be described as the most colorful movie in the Marvel Universe decade, because Garwell is a photographer who is particularly good at using lighting to set the atmosphere, and it can be seen from the picture above that when he shot a scene of Gao Tianzun, he let the lighting team arrange multiple lights of different colors.
Black Panther (2018)
Director: Ryan Koogler
Director of Photography: Rachel Morrison
Shooting equipment:
- ARRI Alexa XT Plus
- ARRI Alexa Mini
- Panavision Primo and Primo V Lenses
Director of photography Rachel Morrison
The director of photography for "Black Panther" is Marvel's first female photographer in 10 years, and she believes that "Black Panther" is very different from "Captain America 3" and "Guardians of the Galaxy", so this time, she used the Alexa XT camera and abandoned the ALEXA 65. "Instead of choosing the ALEXA 65, we chose to shoot with Alexa XT's full door mode, and I wanted everything in the background to be within the depth of field, unlike the huge depth of field in Citizen Kane, I wanted to have a beautiful set and elaborate costumes in the movie."
Avengers 3: Infinity War (2018)
Director: Russo Brothers
Director of Photography: Trent Oppellock
Shooting equipment:
- ARRI Alexa 65 IMAX
- Lenses
- Panavision Sphero 65
- OR Panatar
"Avengers 3: Infinity War" was shot entirely in Alexa 65 IMAX format, and no movie has ever been shot in IMAX format before, which is significant.
Ant-Man 2: The Wasp Appears (2018)
Director: Peyton Reed
Director of Photography: Dante Spinotti
Shooting equipment:
- ARRI Alexa 65
- ARRI Alexa Mini
- ARRI Alexa SXT
- Panavision Millennium DXL
- Red Epic Dragon (visual effects)
- Lenses
- ARRI Prime DNA
Director of Photography Dante Spinoti
Dante Spinoti, director of photography for "Ant-Man 2: The Wasp", won the ASC Lifetime Achievement Award, and his works "L.A. Confidential" and "Shocking Insider" were nominated for Oscars, and when filming "Ant-Man 2", Dante and the director decided to use the ALEXA65, using a full door mode, shooting 6.5K (6560 x 3100) with a resolution of Arri Raw, and in order to facilitate post-effects production, they set the framing safety frame to 87% of the imaging area, and another lighter Alexa The SXT camera also shot in full door mode for 3.4K (3424 x 2202) resolution Arri Raw.
Captain Marvel (2019)
Director: Anna Burton / Ryan Flake
Director of Photography: Ben Davis
Shooting equipment:
- ARRI Alexa 65
- Panavision Millennium DXL
- RED Weapon 8K VV Monstro
- Blackmagic Micro Cinema Camera
- Lenses
- Panavision Sphero 65
- Custom rehoused Canon K35s
The ARRI ALEXA 65 was the film's main shooting equipment, using the Panavision DXL2 in some scenes and the RED WEAPON VVMonstro in small spaces.
"The director of photography really liked the texture of the Alexa 65," recalls Bill Coie, first camera assistant. "Since different costumes have different characteristics, the camera is very important." Early camera testing went far beyond shooting lenses. "We shot the actors wearing costumes and Legacy Effects' prosthesis, which was a real plus and gave Ben Davis the important decision to shoot the foreground shot."
Director of Photography Ben Davis used Canon K35 lenses for most of the film's shots. "Panavision tailor-made some beautiful lenses for the crew, and for the scenes of reminiscence, we wanted a soft look similar to film. For space scenes, in order to achieve a clearer effect, we usually use Panavision Spheros, which is also another way to create contrasts between different scenes. But the custom lenses are very beautiful, so I can't help myself; I ended up sneaking it up for close-up shots of aliens. ”
The past Marvel movie shooting experience has made the director of photography clearly understand the importance of combining real shooting and special effects. "You need to have a clear, even vivid idea of the final image," Davis says, "and I worked closely with VFX supervisors and art departments based on that concept in mind; If you don't make up your mind when shooting, you will waste the preliminary preparation, and you will eventually have to light on unclear scenes, which as a photographer needs to avoid. ”
Avengers 4: Endgame (2019)
Director: Russo Brothers
Director of Photography: Trent Oppellock
Shooting equipment:
- ARRI Alexa 65 IMAX
- Lenses
- Panavision Sphero 65
- OR Panatar
The director of photography for this film is still Trent Oppellock, which was shot with "Avengers 3", using Alexa 65 IMAX.
Spider-Man: Far From Home (2019)
Director: Joe Watts
Director of Photography: Matthew M. Matthew J. Lloyd
Shooting equipment:
- ARRI Alexa
- Lenses
- Hawk V-Lite Anamorphic
The film was still shot with ARRI cameras, and a list of more equipment has yet to be announced.
So, in the Marvel Universe decade, which device is used the most? We have summarized all shooting equipment into two categories: main unit and auxiliary aircraft.
Obviously, Marvel's 22 movies, except for "Guardians of the Galaxy 2" that used RED as the host, the rest were shot with ARRI as the host. (At present, the entire filming equipment of "Avengers 4: Endgame" and "Spider-Man: Far From Home" is not known, and we only summarize the films with clear data.) )
Marvel's ranking of the 5 most used consoles
- ARRI Alexa 65 (7)
- ARRI Alexa XT (7)
- Panavision Panaflex Millenium XL (6 部)
- ARRI Arriflex 435 (5 units)
- ARRI Arriflex 235 (4)
Ranking of the 5 most used auxiliary machines in Marvel movies
- Phantom Flex (8)
- RED Epic/Weapon (7部)
- ARRI Alexa Mini (5)
- Canon 5D (5 units)
- Photosonics 4ER (2 parts)
Ranking of the most used camera brands in Marvel movies
- ARRI (23)
- Panavision (8 parts)
- Phantom (8 units)
- RED (7 parts)
- Canon (7 units)
- Photosonics (2)
- Blackmagic (Part 2)
- GoPro (2)
Thank you for watching, let's look forward to the fourth phase of the Marvel Universe.