Unveiling the Cameras and Lenses Used in Phase Two of the Marvel Cinematic Universe

Get ready to dive into the world of the Marvel Cinematic Universe once again! In this follow-up article, we’ll be exploring the Phase Two films and the cameras used to capture them. From Iron Man 3 to Ant-Man, we’ll take a closer look at the camera gear used to bring these iconic characters to life. But before we get started, make sure to check out our first article on the cameras and lenses used in Phase One.

Have you ever wondered which camera was used the most throughout the entirety of the MCU? Well, wonder no more! We’ve taken a deep dive into each film to find out. In this roundup, we’ll be focusing on Phase Two (2013-2015) and the cameras used to create these epic movies.

Let’s kick things off with Iron Man 3, the first film in which cinematographer John Toll shot digitally. Toll was excited to explore the world of digital cameras and used the opportunity to test out the ARRI Alexa Studio, Phantom Flex, and Canon EOS C300 (for VFX). The lenses used included Leica Summilux-C, Fujinon Premier, Angenieux Optimo Lenses, Zeiss Master Primes, and Canon EF.

But that’s not all! Six Canon EOS C300 cameras were used as “witness cameras” to capture accurate close-up tracking of stunt actors’ movements. This footage was then used by visual effects facilities to overlay photorealistic CGI of Iron Man armor and other imagery onto the main-camera footage.

Next up is Thor: The Dark World, which was shot using the ARRI Alexa Plus, Phantom Flex, Red Epic (for some shots), and Canon EOS 5D Mark II (for the second unit crash camera). The lenses used included Panavision C-, G-Series, ATZ, and AWZ2 Lenses, as well as Canon EF Lenses.

DP Kramer Morgenthau shared that shooting in Iceland was one of his lifetime great experiences as a cinematographer. The stunning landscapes inspired the team to create a widescreen desert look, where the characters are tiny in the frame and the environments become as much of a character as the actors themselves.

Last but not least, Captain America: The Winter Soldier was shot using the ARRI Alexa XT, RED Epic, and Canon EOS C300. The lenses used included Panavision Primo, C-, and E-Series Lenses, as well as Canon EF Lenses.

Stay tuned for the conclusion of this series of breakdowns, where we’ll explore the cameras used in Phase Three of the Marvel Cinematic Universe. Excelsior!Get ready to be blown away by the cameras and lenses used in the Marvel Cinematic Universe’s Phase Two! From the epic Winter Soldier to the hilarious Guardians of the Galaxy, these films were shot using top-of-the-line equipment and a collaborative approach that truly paid off.

Winter Soldier, directed by the Russo brothers and shot by Trent Opaloch, utilized the ARRI Alexa Plus and Red Epic cameras, along with a variety of Panavision lenses. Opaloch praised the brothers’ dynamic and their clear vision for the film, which allowed him to seamlessly integrate his own expertise into the project. The heavily prevised shoot was a collaborative effort between Opaloch, the directors, and VFX supervisor Dan Deleeuw, resulting in some of the most thrilling action sequences in the MCU.

Meanwhile, Guardians of the Galaxy, directed by James Gunn and shot by Ben Davis, used the ARRI Alexa XT Plus and a range of lenses including Panavision Primo, Cooke Xtal Express, and Angenieux Optimo. The film’s unique blend of humor and heart was captured beautifully by Davis, who worked closely with Gunn to bring his vision to life.

So next time you watch these films, take a moment to appreciate the incredible work that went into capturing them on camera. The cameras and lenses may be behind the scenes, but they play a crucial role in bringing these beloved characters and stories to life on the big screen.Get ready to dive into the world of Marvel with the cameras and lenses behind the Marvel Cinematic Universe (Phase Two)! The first film in Phase Two, Guardians of the Galaxy, was lensed by Ben Davis, who went on to shoot several additional MCU installments. Davis wrapped Guardians and immediately went to work on Age of Ultron. In a spotlight on Variety, DP Ben Davis talks about shooting the many worlds of Marvel. Marvel is deferential to the source material, but often you’re very much creating a world and an aesthetic. You’re trying to take that material and elevate it to something different. On Captain Marvel, we had the benefit of a story that is set in the 1990s. There was an existing visual language, and a point of departure for decisions about color, camera movement, and so on. On Guardians, we were building a world from scratch.

While on the set of Guardians of the Galaxy, Davis recalls meeting director Joss Whedon. He liked what I was doing and from that meeting to signing on to do Avengers: Age Of Ultron was a quick process . . . What he brings to The Avengers is very different to Guardians of The Galaxy. It’s earth-bound and a normal setting. But, in that, are these extraordinary characters and situations. Joss gives them a humanity through the writing, but in this one, he did set out to make it grittier than the original, which I loved.

As for the planning, Davis tells British Cinematographer about his approach to the look of Age of Ultron. The aim was to get something very real. So we looked at quite a bit of war photography, which influenced the third act, featuring a big battle. War photographers and camera operators don’t stand in the line of fire . . . so there are views not directly looking that way. But within this, we wanted to show each hero using his or her powers and put the audience in there with them.

Get a behind-the-scenes look at the cameras and lenses used in Avengers: Age of Ultron. Davis is quick to credit his team of camera operators — Julian Morson on A-camera, Luke Redgrave on B, and Sam Renton on a third, when necessary. As for whenever Davis needs to grab a camera, he says, “I need to be on top of the lighting and be looking at the monitors. If I’m on a camera, then I don’t have an overview of everything. Although during the big battle scenes, I did grab a [Canon EOS] C500 to do a bit of handheld shooting.”

Are you a fan of Guardians of the Galaxy? Check out this tutorial on creating Guardians of the Galaxy-style titles in After Effects. Get ready to be inspired and create your own Marvel universe!Get ready to dive into the behind-the-scenes world of the Marvel Cinematic Universe! In this article, we’ll take a closer look at the cameras and lenses used during Phase Two of the franchise. From the lightweight Pocket Cinema Camera used to capture battle sequences in Avengers: Age of Ultron, to the intricate macro shots in Ant-Man, we’ll explore the technical and creative decisions that went into making these films. Cinematographers Russell Carpenter and Rebecca Baehler share their insights on lighting, camera movement, and working at a microscopic scale. And if you missed our previous articles on Phase One and Three, be sure to check those out too. Whether you’re a Marvel fan or a filmmaker looking for inspiration, this series has something for everyone. So grab your popcorn and let’s get started!Looking to break into the film industry? Look no further than breakout director Kat Candler’s advice on the best festivals for first-time filmmakers. And for those already in the game, check out our industry roundup of top destination jobs for videographers. Plus, we’ve got the inside scoop on our favorite releases from this year’s NAB 2019 show. Don’t miss out on all the latest and greatest in the world of film and video!