{"id":10999,"date":"2021-02-24T08:32:28","date_gmt":"2021-02-24T16:32:28","guid":{"rendered":"https:\/\/www.icgmagazine.com\/web\/?p=10999"},"modified":"2021-05-28T16:39:18","modified_gmt":"2021-05-28T23:39:18","slug":"home-sweet-home","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/home-sweet-home\/","title":{"rendered":"Home, Sweet Home"},"content":{"rendered":"

Jess Hall, ASC, BSC, gets his domestic groove on for WandaVision<\/em>, the most surprising new entry in the Marvel Cinematic Universe.\u00a0<\/span><\/span><\/p>\n

by Kevin H. Martin \/ Photos by Chuck Zlotnick and Suzanne Tenner, SMPSP \/ Marvel Studios<\/span><\/span><\/p>\n

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With Avengers: Endgame<\/em> forming the epic conclusion to Phase 3<\/strong> of the Marvel Cinematic Universe (MCU), it might be reasonable to expect less ambitious follow-ups. But if the new Disney+ streaming entry, WandaVision<\/em>, is any indication, the future of the MCU promises both exciting creative departures as well as the requisite spectacle. Avengers<\/em>teammates Wanda Maximoff\/Scarlet Witch (Elizabeth Olsen) and the AI\/Android Vision (Paul Bettany) had formed a romantic liaison before Vision\u2019s demise in Infinity War<\/em>, but when the series begins, they appear to be sharing a state of monochromatic bliss. Inspired in part by the Marvel Comics series The Vision<\/em>, the pair\u2019s daily misadventures play out in shifting realities (and over numerous decades) that reflect past TV sitcoms, which are marred only by occasional anachronisms that suggest their idealized reality is just that.<\/p>\n

Director of Photography Jess Hall, ASC, BSC, was approached by series director Matt Shakman, who was a fan of Hall\u2019s work on Hot Fuzz<\/em> and that film\u2019s ability to shift between comedy, action, and drama (as does WandaVision<\/em>). Additionally, the changing environments would require critical attention to color detail, which Hall had demonstrated with his work on Ghost in the Shell<\/em> [ICG Magazine April 2017<\/a>]. Hall studied sitcoms from each period, amassing a reference library of stills from each. \u201cI analyzed RGB values of the color palette from the various eras, sharing that data with Costume Designer Mayes Rubio and Production Designer Mark Worthington\u2019s art department,\u201d Hall recounts. \u201cThat gave us a lot of color integrity and let us play complementary colors in clothing and on the walls against one another, which I could augment with lighting gels.\u201d<\/p>\n

Many of WandaVision<\/em>\u2019s visual components evolve as episodes progress from early black-and-white-era TV stylings toward modern episodics and eventually a return to MCU standards. \u201cThe camerawork, lensing, and composition change as the series progresses, along with the aspect ratio,\u201d Hall adds. \u201cWe start with Academy 1:33, then go to 1:78 before winding up at 2:39. Some episodes intermingle period hence the aspect ratio changes or even transitions within single shots.\u201d<\/p>\n

While other recent productions, such as Mank<\/em>, shot by Erik Messerschmidt, ASC, used a sensor that captured in black and white, Hall took a different approach. \u201cSince we\u2019d be moving from black-and-white to color, I didn\u2019t choose a monochrome chip because I wanted a single camera platform throughout. That\u2019s how I shot for the Smirnoff Infamous Since 1864<\/a> commercial (AICP Award winner for Cinematography and Color Grading) which also takes the viewer through various historical periods. I wanted a camera that provided enough image information to allow me a diverse palette in a range of formats, including using 1.3\u00d7 anamorphics on later episodes. The big sensor of the ALEXA LF, augmented by the LF Mini, provided a flexible platform and a color space I was confident I could push in several directions.\u201d<\/p>\n

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Episodes progress from early black-and-white-era TV to modern episodic, and eventually a return to the MCU. \u201cThe camerawork, lensing, and composition change as the series progresses, along with the aspect ratio,\u201d describes Director of Photography Jess Hall, ASC, BSC. \u201cSome episodes intermingle period hence the aspect ratio changes or even transitions within single shots.\u201d \u00a0(L-R): Teyonah Parris as Monica Rambeau and Elizabeth Olsen as Wanda Maximoff \/ Photo by Suzanne Tenner \/Marvel Studios<\/figcaption><\/figure>\n

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The monochrome look was built into a LUT designed in<\/strong> collaboration with Technicolor\u2019s Josh Pines and Chris Kutcka. Hall says they largely used the values of color elements in-shot to dictate the tonal palette of the black-and-white. \u201cBlack-and-white film stocks traditionally do not have equal sensitivity across the color spectrum,\u201d he notes, \u201cso we played with that principle. For example, the walls on The Dick Van Dyke Show <\/em>[1961\u20131966] had been painted blue-green, which contrasted nicely with warm skin tones. This enabled\u00a0us to\u00a0choose particular colors and enhance their luminance or shift their tonal value individually, without using a key \u2013 by applying a color matrix to the RGB image, we could more closely emulate the response of a traditional black and white film stock. Doing this outside of the LUT ultimately gave us more control and flexibility.\u201d<\/p>\n

Hall also embarked on a detailed series of lens tests to lock in his variegated approach, with Marvel embracing the testing and the various looks. \u201cTheir brief to me was, \u2018Bring feature quality to streaming,\u2019\u201d adds Hall, who had never previously shot television. \u201cAt six hours in length, this was like shooting approximately three movies. I had the support to go into feature-level prep, especially as we were establishing a new workflow for the streaming platform. Naturally, that time was compacted, particularly towards the end of our prep schedule.\u201d<\/p>\n

The lens tests included older glass, with Panavision\u2019s Dan Sasaki rebuilding P-Vintage lenses into new assemblies for the early episodes, augmented by modified Cooke Series 2 zooms. \u201cI attempt to control the look and put my mark on the image by getting as much of the look in-camera [as I can], as opposed to relying too heavily on post,\u201d Hall continues. \u201cWe knew it would take work in-camera to get the look for the \u201950s\/\u201960s and \u201970s eras, in particular. In testing, my preference was for the older lenses, combined with Black Vintage Christian Dior net behind the rear element. However, due to the scarcity of the original glass, it would have been hard to put two matching sets together. The lenses were also fragile, so adapting them was complex and would only allow us to push the characteristics so far.\u201d<\/p>\n

The option for Hall was to explore what Sasaki described as \u201cadaptive optics.\u201d According to Sasaki, exploiting this concept beyond what Panavision has done on any previous project. \u201cAdaptive optics involves a new optical assembly that incorporates additional elements to the existing glass. Hall says this approach \u201cenabled us to get close to our desired look, which was formed in part by period authenticity and partly reflected my own aesthetic preferences in terms of what the narrative required.\u201d<\/p>\n

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Hall (right with Director Matt Shakman) made use of “adaptive optics” created by Panavision’s Dan Sasaki. “That enabled us to get close to our desired look, which was formed in part by period authenticity and partly reflected my own aesthetic preferences in terms of what the narrative required,\u201d Hall explains. \/ Photo by Chuck Zlotnick \/ Marvel Studios<\/figcaption><\/figure>\n

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Hall says the adaptive optics let him push lensing anomalies<\/strong> and character further\u00a0than simply detuning or using existing vintage glass. \u201cIt wasn\u2019t a uniform application,\u201d he explains. \u201cWe were able to alter the image in terms of fall-off in focus, highlight halation and lens curvature, in addition to softening the image in selective color. We built two full sets for Episodes 1 through 3\u00a0and scaled them so that the characteristics varied in relation to the iris. I could shoot these lenses for the \u201970s-era shows at a T4-5.6 for a moderate look, then shoot the same glass at T2.5-2.8 for the \u201950s look and achieve a more\u00a0dramatic effect.\u201d<\/p>\n

The team built a unique 50mm and 75mm portrait lens for Wanda\u2019s close-ups, which emulated a\u00a0look Hall had seen in prep when he projected 35-millimeter prints of Bewitched <\/em>[1964\u20131972], sourced from the show\u2019s original negative. \u201cThey used a\u00a0more classic, cinematic beautification\u00a0of Elizabeth Montgomery\u00a0on these shots than I\u2019d associate with TV\u00a0of the period,\u201d Hall adds. \u201cIn fact, these close-ups fetishize her beauty in a way that struck me as both unusual and impactful.\u201d Hall says they enhanced the center-weighted aspect of the portrait lenses, providing an increase in the fall-off in focus, as well as increased softness and halation. \u201cI think these special lenses helped express Wanda\u2019s character predicament, highlighting the grief and isolation at key dramatic moments,\u201d he describes.<\/p>\n

Episodes taking place in more recent TV eras were shot with Panaspeed primes and Fujinon zooms, while full-on MCU aspects relied on Ultra Panatars, which was the same series of lenses used in Avengers: Endgame<\/em>. In all, Hall wielded 47 different lenses.<\/p>\n

\u201cSince we were among the first Marvel shows on Disney+, I was deeply involved with Marvel\u2019s post team, led by Evan Jacobs and Mike Maloney,\u201d Hall continues. \u201cWe collaborated on their initial workflow and HDR testing that would, to a greater extent, extend into the rest of MCU, Phase 4 streaming work. They had not mastered in HDR on set for the previous features, instead doing a conversion. This time, though, I worked with 4K HDR monitors on set; DIT Kyle Spicer had to completely redesign the HDR cart to work in 4K live.\u201d<\/p>\n

Two 32-inch Sony HX-310s and a pair of PVM A250s for SDR viewing made up Spicer\u2019s viewing station. \u201cThose monitors were beasts, just incredibly heavy,\u201d states 1st AC Sean Moe. \u201cKyle had to have help to lift them off his cart each night. But the image was amazing; he caught detail I couldn\u2019t even see on my 1080p monitor.\u201d<\/p>\n

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DIT Kyle Spicer, an MCU veteran, says WandaVision’s<\/em> workflow was\u00a0very close to a feature film, but with key differences. “We had three LUT\u2019s for each period, plus varying LUT\u2019s depending on the camera used, so 23 in all,” Spicer shares. Paul Bettany as Vision (L) with Olsen. \/ Framegrab courtesy of Marvel Studios<\/figcaption><\/figure>\n

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DIT Spicer is another MCU vet and says the DI-grade monitors<\/strong> on set provided the truest color. \u201cWe were in HDR from Step 1 to DI, all the way through as our master,\u201d he shares. \u201cTypically, HDR and SDR passes are done at the end of a feature, after everybody views SDR on set and in editorial. Then a trim pass is done on the HDR side, where the SDR is tweaked. Marvel and Disney knew this was going to be streaming, not in theaters, and also that future-proofing was a concern, so HDR became the primary issue rather than treated as a sidebar to the SDR finishing. In the DI, it was mastered in HDR, and the trim pass was on the SDR side. We\u2019re doing the same thing on Hawkeye<\/em> now.\u201d<\/p>\n

The streaming series, Spicer observes, felt more like a feature. \u201cEverybody was trying to squeeze the best possible production value out of the work,\u201d he declares. \u201cIt\u2019s very close to a feature-style workflow, but with key differences. We had three LUT\u2019s for each period, plus varying LUT\u2019s depending on the camera used, so 23 in all. While we were matching to very specific styles of sitcoms past, Jess brought his own twist to reflect the dramatic issues with the characters.\u201d<\/p>\n

To combat the common complaint of HDR being too bright, nit-levels for MCU scenes were limited to 600. \u201cKyle did a brilliant job of archiving,\u201d Hall lauds. \u201cHe had a huge volume of high-quality reference material at hand at any given moment, so the DIT tent was a command center from which all this info could be retrieved. Kyle already knew how Marvel liked to organize the material and data. It seemed incongruous at first that we were using all these high-resolution processes to produce a degraded 1950s image. But that was only part of the look for the series. In the early episodes, we limited the highlight range to 100 nits, to more accurately reflect the technology of the period. Coupled with a soft roll-off, it got us the desired look in the highlights.\u201d<\/p>\n

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WandaVision’s<\/em> pilot was shot before a live audience with three cameras. “[A-Camera Operator] Henry Tirl didn\u2019t do a lot of panning and dollying,” says 1st AC Sean Moe. “If we had a two-shot, I wouldn\u2019t ever rack focus, because that wasn\u2019t done on The Dick<\/em> Van Dyke Show<\/em>.” (L) Kathryn Hahn as Agnes, with Olsen and Bettany. \/ Photo by Chuck Zlotnick \/ Marvel Studios<\/figcaption><\/figure>\n

To convey greater period verisimilitude, WandaVision<\/em>\u2019s first <\/strong>episode was shot live with a studio audience. Hall used three cameras, and then shot pickups as inserts later. \u201cOverall, it was treated very much as it had been in the past, stopping only for set changes,\u201d he explains. \u201cThe lighting was broad, and the camera was limited to moves associated with live shows. I did live cues on the lighting while speaking to the operators by headset.\u201d<\/p>\n

The live audience shoots called for the crew to get into the act. Moe says, \u201cWe all dressed up with hats and ties [Midcentury] style. The audience was assembled with NDA\u2019s to keep the secrecy aspect.\u201d Movement of the camera by A-Camera Operator Henry Tirl was deliberately limited, in keeping with the style of the era. \u201cWe didn\u2019t do a lot of panning and dollying,\u201d Moe states. \u201cIf we had a two-shot, I wouldn\u2019t ever rack focus, because that wasn\u2019t done on The Dick<\/em> Van Dyke Show<\/em>. Those kinds of moves [in sitcoms] came decades later when shooting the Modern Family<\/em>-era stuff, plus the MCU material.\u201d<\/p>\n

Hall also employed period lighting. \u201cMy gaffer, John Vecchio, went to various studios, including Paramount, to source a variety of old units,\u201d he reveals. \u201cTo keep the sets cool, and because we were working at 800 ASA, not the 50 or 100 ASA these lights were designed for, I used\u00a02Ks\u00a0or 5K bulbs within the old Big Eye 10K\u00a0Fresnel housings,\u00a0which still gave me the same quality of light.<\/p>\n

\u201cAnd I limited Key Grip Jim Kwiatkowski to period diffusion materials like Tough Soft Frost and Spun diffusion,\u201d Hall continues. \u201cHe was able to source several rolls of discontinued materials like Rosco Spun Silver. Episode 2 moves towards single camera, reflecting the later era. That work used a more traditional hard-key light\u00a0and 3-point lighting structure. I utilized more light control in the form of flags and snoots, and an old-style light on [Elizabeth Olsen].\u00a0The general contrast is increased with deeper blacks and we move to a cooler D62 white point, from the D58 of Episode 1.\u00a0Lighting was strictly tungsten in the early episodes, except for a small amount of LED in the \u201870s that\u00a0I required for specific color temperature reasons.\u201d<\/p>\n

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Hall (center, standing) says that because Director Shakman (lower right) has a background in theater, “he favors strategies that enable his actors freedom of performance. So, we often established longer moving master shots that could accommodate the blocking.\u201d \/ Photo by Chuck Zlotnick \/ Marvel Studios<\/figcaption><\/figure>\n

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With the switch to modern sources in later episodes, Hall<\/strong> was able to reference the saturated look of Marvel Comics \u2013 in a controlled manner. \u201cAlthough I didn\u2019t lean stylistically towards the compositional style of the Marvel comics for our MCU material, I was influenced by their richness of color, particularly in\u00a0House of M<\/em>\u00a0and\u00a0Scarlet Witch Vol. 3: The Final Hex<\/em>,\u201d he acknowledges. \u201c<\/em>I glimpsed an opportunity to exploit the expanded color gamut possibilities of the HDR platform to render some of the richness and vivid color that was used so effectively as a design element in the original intellectual property. [I utilized] a customized LED color palette [to map] various LED fixtures, which permitted me to maintain precise color control and consistency. This was done by generating XY values from colors, using RGB values from the Digital Sputnik as the master.\u201d<\/p>\n

Spicer notes that \u201cthe lighting manufacturers all show you a different color value when you ask for sky-blue. So, for Jess to be able to get all of those \u2013 plus some consumer-level LED\u2019s in the set \u2013 to live together and match was a big win. Even consumer LED\u2019s that go into the set.\u201d Hall\u2019s team employed a spectrometer to create RGB\u00a0values for additional fixtures\u00a0\u2013 ARRI SkyPanels, Kino Flo Freestyles, Astera Titan Tubes, and AX3s\u2013 matching the source XY within .001 to .003 of the original XY value. Other interactive lighting elements placed near or on the actors were made from LiteGear RGBW ribbon, for which Hall established color values by eye, via the camera, using his MCU LUT.<\/p>\n

\u201cWe moved the camera differently in the modern-era scenes, making extensive use of the Technocrane, dolly, slider, and drones,\u201d Hall states. \u201cWe tried to maintain some simplicity and elegance in the camera choreography of our action sequences as that would blend more succinctly with the period work, and we didn\u2019t want the transitions to be too abrupt. Matt\u00a0has a background in theater and favors strategies that enable his actors freedom of performance. So, we often established longer moving master shots that could accommodate the blocking.\u201d<\/p>\n

After the bulk of shooting was completed at Pinewood Studios, Atlanta, and other parts of Georgia, production was slated to resume in California at the Warner Bros Ranch in Burbank, including on the historic Blondie Street. But, as Hall notes, \u201cwe were on a month\u2019s hiatus when COVID happened. One positive aspect emerging from the shutdown was having time to set up a remote DI at my home, which Marvel helped with,\u201d he says. \u201cI have a room with a calibrated monitor Resolve fed in real-time from the grading suite. Resolve can change contrast curves or window or blending VFX plates with live-action. Thus, when we started up again six months later, I had completed considerable color grading work, and accumulated a lot of knowledge by looking at what we had shot previously.\u201d<\/p>\n

Storyboards and previs were used on more complex sequences. \u201cI got in a room with Matt and contributed there,\u201d Hall adds, \u201censuring our lenses got mapped so the previs would accurately reflect our lensing and the way we intended to shoot each era. That allowed us to determine the size of green screen we required or design the stunt rigging. And with the volume of VFX work being spread across so many vendors, it became more challenging to control issues with color space. We fed the VFX vendors base grades from the DI when possible, as well as our LUT\u2019s. A CDL developed on set works in that moment, but the look did shift in the DI when examining a whole episode in context. Marvel built their own digital intermediate facility, which worked in Resolve. I had Technicolor colorist Matt Watson doing my dailies and my finals.\u201d<\/p>\n

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VFX Supervisor Tara DeMarco says the post-work on the early shows \u00a0“is intended to look like it was done in those less-advanced times, except for Vision and his CG face. We set up a color pipeline for the VFX vendors \u2013 who had already done Vision in the features \u2013 because black-and-white Vision actually has blue skin in order to read as a silvery tone.” \/ Framegrab courtesy of Marvel Studios<\/figcaption><\/figure>\n

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While the early episodes deliberately employ old-school, in-camera effects,<\/strong> ranging from jump-cuts and undercranking to wire gags \u2013 digital trickery, under the stewardship of VFX Supervisor Tara DeMarco, is still a significant presence.<\/p>\n

\u201cI came on early enough to sit with the department heads and help determine which effects technique would work best in each period,\u201d DeMarco reports. \u201cWe always knew that puppeteered wire rigs were going to figure into the early episodes, so those conversations involved special effects and props, as well as camera placement and lighting for Jess. Dan Sudick has a long history with Marvel features, including Infinity War<\/em> and Endgame<\/em>, and is head of special effects for all Marvel streaming shows. His background included a fair amount of wirework, so we relied on him to determine what could and couldn\u2019t be done practically.<\/p>\n

\u201cThe post-work we did on the early shows is intended to look like it was done in those less-advanced times,\u201d DeMarco continues, \u201cexcept for Vision and his CG face. We set up a color pipeline for the VFX vendors \u2013 who had already done Vision in the features \u2013 because black-and-white Vision actually has blue skin in order to read as a silvery tone. So, there was extensive testing for makeup color, AI color, and figuring out where we wanted our white balance to fit to arrive at a final grade that felt rich and looked period after we had added grain. The VFX vendors would deliver EXR\u2019s back in color, so we could balance the black-and-white ourselves, plus a QuickTime reference that used the LUT and CDL so they could see where we were going. Many times, we gave pre-graded reference from the DI, especially with the \u201970s sequences, for which we wanted a look that was even bolder than that of the dailies.\u201d<\/p>\n

The volume of VFX expanded with each episode, which DeMarco says was a conscious part of the transition from early TV to the MCU of recent features. The VFX shot number continued to grow in post to more than 3000 cuts. \u201cThe post workflow Evan Jacobs built out is incredible, and it means we can do a lot of things without ever going outside of Marvel,\u201d DeMarco adds. \u201cThe company also has an incredible archive, so if you are interested in reviewing the look of a past effect and to see how it was done, they have a great resource on all those previous projects that you can examine.\u201d<\/p>\n

Looking back on his involvement, Hall says Marvel\u2019s success starts from the top. \u201cEven though [Marvel Studios President] Kevin Feige presides over the most successful film franchise of all time, he did not play it safe, producing something in WandaVision <\/em>that might be considered avant-garde<\/em>, or at the very least, highly conceptual, relative to past Marvel work. That is indicative of a highly creative person.,\u201d Hall offers. \u201cWandaVision <\/em>was an exciting departure and one I\u2019m delighted to be a part of. When I started doing research, I was captivated by the imagination and creativity I saw in older episodes of The Twilight Zone<\/em>. With the current volume of content available, viewers could easily become oversaturated, so looking at different and inventive ways to present a story seems an intelligent option.\u201d<\/p>\n

Hall points to the many subtle tonal shifts throughout WandaVision<\/em>. \u201cThe range is immense \u2013 from comedy and romance to sci-fi action and drama, and this made it especially appealing,\u201d he concludes. \u201cThere are so many characters in a Marvel Avengers feature, you can only manage snippets of time for each. I loved that this series gave us the opportunity to explore the love story between Paul and Lizzie\u2019s characters, expanding on those brief, beautiful moments they had in Age of Ultron<\/em> and Infinity War<\/em>, and delving more deeply into that relationship. That is a gift for any cinematographer.\u201d<\/p>\n

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Hall (above), who calls WandaVision \u201can exciting departure,\u201d points to the many subtle tonal shifts throughout the series. \u201cThe range is immense,\u201d he concludes. \u201cFrom comedy and romance to sci-fi action and drama, and this made it especially appealing.\u201d \/ Photo by Chuck Zlotnick \/ Marvel Studios<\/figcaption><\/figure>\n

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Local 600 Camera Team – WandaVision<\/em><\/strong><\/span><\/p>\n

Atlanta<\/strong><\/p>\n

Director of Photography: Jess Hall, ASC, BSC<\/p>\n

A-Camera Operator\/Steadicam: Henry Tirl<\/p>\n

A-Camera Operator: Dave Luckenbach, SOC<\/p>\n

A-Camera 1st<\/sup> AC: Sean Moe<\/p>\n

A-Camera 2nd<\/sup> AC: Zach Junquera<\/p>\n

B-Camera Operator: Jeff Crumbley, SOC<\/p>\n

B-Camera 1st<\/sup> AC: Trey Twitty<\/p>\n

B-Camera 2nd<\/sup> AC: Bess Johnson<\/p>\n

C-Camera Operators: Ian Clampett, Hugh Braselton<\/p>\n

C-Camera 1st<\/sup> ACs: Alessandro Di Meo, Dwight Campbell<\/p>\n

C-Camera 2nd<\/sup> AC: Victoria Warren<\/p>\n

Loader: Kat Soulagnet<\/p>\n

Utility: Torey Lenart<\/p>\n

DIT: Kyle Spicer<\/p>\n

Still Photographer: Chuck Zlotnick<\/p>\n

Publicist: John Pisani<\/p>\n

Los Angeles<\/strong><\/p>\n

Director of Photography: Jess Hall, ASC<\/p>\n

A-Camera Operator\/Steadicam: Henry Tirl<\/p>\n

A-Camera 1st<\/sup> AC: Sean Moe<\/p>\n

A-Camera 2nd<\/sup> AC: Paul Tilden<\/p>\n

B-Camera Operator: Dave Luckenbach, SOC<\/p>\n

B-Camera 1st<\/sup> AC: Craig Grossmueller<\/p>\n

B-Camera 2nd<\/sup> AC: Miki Janicin<\/p>\n

C-Camera Operators: Chris Duskin, Lukas Bielan<\/p>\n

C-Camera 1st<\/sup> ACs: Dan Ming, Dennis Geraghty<\/p>\n

C-Camera 2nd<\/sup> AC: Kalli Kouf<\/p>\n

Loader: Kat Soulagnet<\/p>\n

Utility: Torey Lenart<\/p>\n

DIT: Kyle Spicer<\/p>\n

Matrix Head: Jason Sutton<\/p>\n

Still Photographer: Suzanne Tenner, SMPSP<\/p>\n

Publicist: John Pisani<\/p>\n

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 <\/p>\n","protected":false},"excerpt":{"rendered":"

Jess Hall, ASC, BSC, gets his domestic groove on for WandaVision, the most surprising new entry in the Marvel Cinematic Universe.\u00a0 by Kevin H. Martin \/ Photos by Chuck Zlotnick and Suzanne Tenner, SMPSP \/ Marvel Studios   With Avengers: Endgame forming the epic conclusion to Phase 3 of the Marvel Cinematic Universe (MCU), it might be reasonable to expect less ambitious follow-ups. But if the new Disney+ streaming entry, WandaVision, is any indication, the future of the MCU promises […]<\/p>\n","protected":false},"author":2,"featured_media":11032,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2],"tags":[532,37,55,380,550],"class_list":["post-10999","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-disney","tag-icg-magazine","tag-jess-hall","tag-marvel","tag-wandavision"],"acf":[],"yoast_head":"\nHome, Sweet Home - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/home-sweet-home\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Home, Sweet Home - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Jess Hall, ASC, BSC, gets his domestic groove on for WandaVision, the most surprising new entry in the Marvel Cinematic Universe.\u00a0 by Kevin H. 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