The magical cherry blossom tree is a symbol of beauty and enchantment in many cultures. Its delicate pink flowers bloom for a short period of time, creating a spectacle that captivates the hearts of those who witness it. The tree is often associated with romance and new beginnings, as its blossoms mark the arrival of spring. Legend has it that if you make a wish under a cherry blossom tree and it comes true, you will be blessed with good luck and happiness. This belief has made these trees popular destinations for hanami, the traditional Japanese custom of enjoying the beauty of flowers. During this time, parks and gardens are filled with people having picnics under the cherry blossom trees, celebrating the fleeting beauty of nature.
During this time, parks and gardens are filled with people having picnics under the cherry blossom trees, celebrating the fleeting beauty of nature. In addition to its cultural significance, the cherry blossom tree also holds a special place in the natural world. Its blossoms represent rebirth and renewal, as they emerge after the cold winter months.
How ‘WandaVision’ Re-created Classic Sitcom Camera Magic
With influences from 'The Dick Van Dyke Show' to 'The Twilight Zone,' director of photography Jess Hall crafted a range of period looks for the Disney+ miniseries.
Carolyn Giardina
June 6, 2021 9:00am- Share this article on Facebook
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WandaVision’s first episode, inspired by black-and-white classics like The Dick Van Dyke Show, was actually filmed before a live studio audience. Marvel Studios/Disney+
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To prepare to shoot Disney+‘s miniseries WandaVision — which follows Marvel characters Wanda Maximoff (Elizabeth Olsen) and Vision (Paul Bettany) through a series of sitcom environments from various decades — British DP Jess Hall admits he watched a lot of classic television, even digging up film prints from the original negative of a couple series like Bewitched and having them projected.
In creating the nostalgia of these periods, Hall describes the look of WandaVision as a hybrid of very different looks, though also “something coherent because that’s one story.”
To do this, he chose to use one type of camera, ARRI’s Alexa LF (large format), to shoot the series and then “create the different looks by using other elements of the cinematography, a combination of lighting, color science, framing, all of that.”
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Later in the season, episodes employed a more contemporary, “familiar MCU” look.Episode one, appropriately titled “Filmed Before a Live Studio Audience,” drew inspiration from The Dick Van Dyke Show (which initially aired from 1961 to 1966) and other period sitcoms that were lensed in black-and-white before a live audience. “We actually did, on that episode, shoot on a stage in front of an audience,” Hall explains, noting that he re-created the period-specific black-and-white, the 4:3 aspect ratio and even the approach to lighting. “I was looking at a lighting strategy that could really accommodate the actors. In that episode, there’s a lot of moving between the kitchen and the living room, the dining room, and because we’re doing it live, that all needed to happen in real time.”
With the desire to use the “vocabulary and period instruments” available at the time, Hall researched vintage lighting fixtures. “With my gaffer John Vecchio, we looked to the early Mole Richardson fixtures, and we found this [vintage] Softlite. We’d go around various kinds of old studio warehouses and collect enough of these,” Hall says, noting that overhead rigs were built to suspend these fixtures over the set to create even, soft lighting.
Hall also used custom lenses, created with Panavision and its vice president of optical engineering, Dan Sasaki. “We started testing a bunch of early lenses from the ’30s, ’40s … but they were very fragile and there weren’t very many of them,” the DP relates. “We ended up starting from scratch and basically rebuilding new lenses to kind of evoke the look of old lenses.”
The cinematographer also created a custom Look-Up Table (a sort of blueprint of how the color would be processed) that would allow him to monitor how the color images would look in black-and-white while shooting, and he adds that the final color grading stayed true to that intended look.
Hall (pictured) notes that WandaVision’s modern sequences give Marvel fans something they “could connect to.” Courtesy of Subject
Each episode required this sort of care. Episode two (“Don’t Touch That Dial”) delivered a look inspired by series like Bewitched (1964-72). “Dick Van Dyke and series around the ’50s were shot on 5231 — a black-and-white Kodak film stock — which is kind of a low-contrast, softer kind of film stock, but they were moving into a high-contrast film stock in the ’60s, I think influenced a bit more by film lighting,” Hall says. “Particularly I think of Elizabeth Montgomery, who was kind of quite fetishized in [Bewitched]. It looks amazing. I was thinking about that in relation to Elizabeth Olsen’s lighting — looking at the vintage lighting, but a different kind of style of lighting.” He used a Big Eye 10K — “the main kind of lighting tool that I saw popping up in that period. So that’s what I used for my key light, but I kind of softened that with [period] diffusion because on the digital camera, it’s a little bit harsh.”
He notes that the nostalgia is disrupted in a couple of instances during this episode, such as the nighttime appearance of a beekeeper or when the ladies gather at the pool and a water glass shatters. “The camera starts to move a little bit and we go into a more cinematic mode. My influences were things like The Twilight Zone, the work of David Lynch.”
For the series’ darker moments, DP Jess Hall found inspiration in The Twilight Zone and the films of David Lynch.
The looks continue to evolve with each period. For episode three (“Now in Color”), Hall devised an early color film look; later in the season he created a modern-day “familiar MCU” look, including through camera movement and framing. “We did actually modify the lenses to our specific requirements, but they’re similar to what was used on [Avengers: Endgame],” he says. “I liked this idea that, in a way, even if it was subconscious, when you saw the modern footage, there was something that the fans could connect to, that felt familiar.”
This story first appeared in a June standalone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.
Episode one, appropriately titled “Filmed Before a Live Studio Audience,” drew inspiration from The Dick Van Dyke Show (which initially aired from 1961 to 1966) and other period sitcoms that were lensed in black-and-white before a live audience. “We actually did, on that episode, shoot on a stage in front of an audience,” Hall explains, noting that he re-created the period-specific black-and-white, the 4:3 aspect ratio and even the approach to lighting. “I was looking at a lighting strategy that could really accommodate the actors. In that episode, there’s a lot of moving between the kitchen and the living room, the dining room, and because we’re doing it live, that all needed to happen in real time.”
The blooming of cherry blossoms is a phenomenon that brings joy and hope, reminding us of the beauty and resilience of life. Beyond its symbolic meaning, the cherry blossom tree also has practical uses. Its wood is highly valued in Japan for its durability and flexibility, making it suitable for construction and furniture making. The tree's fruits, known as cherries, are not only delicious but also packed with nutrients and antioxidants. The magical cherry blossom tree serves as a reminder to appreciate the beauty of the present moment. The ephemeral nature of the blossoms reminds us to cherish the fleeting moments of joy and wonder that life brings. Whether we witness the blooming of cherry blossoms in person or admire it through pictures and art, the enchanting beauty of these trees continues to inspire and uplift our spirits..
Reviews for "Unveiling the enchantment of the magical cherry blossom tree."
1. Sarah - 2 stars
I was really looking forward to the Magical cherry blossom tree based on all the positive reviews, but I was left extremely disappointed. The tree didn't look anything like the pictures - instead of vibrant pink blossoms, the flowers were pale and barely noticeable. The tree also didn't seem very sturdy, and I felt like it might topple over at any moment. Overall, I found the product to be overpriced and not worth the money.
2. Mark - 1 star
I regret purchasing the Magical cherry blossom tree. The assembly process was a nightmare - the instructions were confusing and the parts didn't fit together properly. It took me hours to get the tree set up, and even then, it looked crooked and unstable. The lights were also disappointing - they were supposed to twinkle like stars, but instead, they barely glowed. Save your money and avoid this product.
3. Emily - 2 stars
I had high hopes for the Magical cherry blossom tree, but it fell short of expectations. The tree itself was flimsy and poorly constructed, and it didn't provide the beautiful aesthetic I was hoping for. The leaves and flowers also had a cheap plastic appearance, making it look artificial. The tree didn't add any magical ambiance to my space, and I would not recommend it to others.