The Twitch livestream of the Wandavision magic show was a highly anticipated event for fans of the Marvel Cinematic Universe. The show promised to feature mind-bending magic tricks and illusions performed by the talented Wanda Maximoff and her partner, Vision. As the livestream began, viewers were transported into the world of illusion, as Wanda and Vision showcased their extraordinary abilities. From disappearing acts to levitation, every trick was flawlessly executed, leaving the audience in awe. The highlight of the show was a mind-reading trick, where Wanda managed to correctly predict the thoughts of randomly selected audience members. The precision and accuracy of her predictions left viewers amazed and wondering if there was more to her power than meets the eye.
The precision and accuracy of her predictions left viewers amazed and wondering if there was more to her power than meets the eye. Throughout the show, the chemistry between Wanda and Vision was palpable, adding an extra layer of intrigue to their performances. It was clear that they were perfectly in sync, seamlessly executing each illusion with grace and precision.
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.”
However, as the show progressed, viewers began to notice some unsettling moments. There were instances where Wanda seemed to lose control of her powers, causing glitches in the virtual reality set. These glitches only added to the mystery and left viewers questioning the true nature of the magic show. In the final act, Wanda and Vision unveiled a grand finale that left everyone speechless. They created a breathtaking illusion where Vision appeared to be torn apart, only to reassemble himself before the astounded eyes of the audience. It was a mind-blowing display of power and skill that solidified their status as master magicians. As the curtains closed, viewers were left with more questions than answers. What was the true source of their power? Was it all just an elaborate illusion, or was there something more at play? The Wandavision magic show had sparked a new wave of excitement and curiosity among fans, leaving them eagerly awaiting the next chapter in this mesmerizing tale..
Reviews for "The Magic of Nostalgia: The Retro Aesthetic in Wandavision"
1. John - 1 star
I was really disappointed with "Wandavision magic show." I thought it was going to be an exciting superhero series, but instead, it turned out to be a confusing mess. The first few episodes were slow and didn't make much sense. I found myself getting bored and disinterested in the storyline. The concept of the sitcom format was interesting at first, but it quickly became repetitive and lost its charm. Overall, I feel like the show failed to deliver on the high expectations and left me feeling unsatisfied.
2. Emily - 2 stars
I had high hopes for "Wandavision magic show," but unfortunately, it didn't live up to them. The whole concept of the show felt convoluted, and I struggled to understand what was happening in each episode. It felt like the writers were trying too hard to be clever and ended up sacrificing storytelling for confusion. Additionally, the pacing was inconsistent, with some episodes dragging on while others felt rushed. The performances were decent, but they couldn't make up for the weak plot. I was left feeling underwhelmed by the overall execution of the series.
3. Mark - 2 stars
I found "Wandavision magic show" to be quite underwhelming. The show started off with an intriguing premise, but it quickly lost its way. The narrative felt disjointed and difficult to follow, especially with the constant time jumps and unclear character motivations. The sitcom format, while initially refreshing, became tiresome as the novelty wore off. I also felt like the show didn't do justice to the potential of its main characters. Overall, "Wandavision magic show" failed to engage me on an emotional level and left me feeling disappointed in its execution.