Kramer Morgenthau ASC on the cinematography of Captain America: Brave New World

For Captain America: Brave New World, cinematographer Kramer Morgenthau, ASC and director Julius Onah aimed to craft an aesthetic reminiscent of 1970s thrillers. While shooting digitally, they chose lenses that would help imbue the images with a film-like texture. Through extensive testing and close collaboration with Panavision’s Special Optics team, they selected a combination of C Series 2x-squeeze anamorphic lenses, VA spherical primes, and Ultra Panatar II 1.3x-squeeze anamorphics to achieve the desired vintage character and visual impact. In the following interview, Morgenthau discusses his creative process, the influences behind the movie’s look, and how the lens choices contributed to the overall vision for the latest installment in the Marvel Cinematic Universe.

Panavision: How would you describe the look of Captain America: Brave New World?

Kramer Morgenthau, ASC: The look the director, Julius Onah, and I went for embraced a paranoid-thriller aesthetic. Although the movie was shot digitally, we were committed to evoking the texture and character of photochemical film. To achieve this, we adapted a LUT designed by Steve Yedlin, ASC, to emulate Kodak Vision 500T film stock, adding characteristics like grain, gate weave, halation, and other filmic idiosyncrasies. In the lighting, we avoided a flat, ambient approach and instead opted for sculpted, shaped lighting and precise, controlled compositions to go for the ’70s look Julius was seeking.

Were there any particular visual references you looked at for inspiration? 

Morgenthau: The visual style of the film was influenced by a variety of iconic movies, including The Day of the Jackal, Le Samouraï, Point Blank, The Killing of a Sacred Deer, Trance, and The Great Beauty. The style evokes a gritty, suspenseful tone. These films helped shape the movie’s approach to controlled composition, lighting, and abstract framing techniques. The use of symmetry and headroom played a key role in visually conveying the psychological tension and pressure experienced by the characters, which was integral to the film's paranoid-thriller tone.

How did you and Julius Onah communicate with one another to ensure you were envisioning the movie in the same way?

Morgenthau: We established a strong collaborative relationship that was facilitated by detailed visual references, shot lists, and stunt visualizations broken down in preproduction. Onah brought a collection of reference stills to the set daily to provide clear guidance and inspiration for the team. We also used Shot Designer software to plan intricate setups, ensuring that every aspect of the visual storytelling was well-prepared. This collaboration extended across all departments — set design, lighting, color approaches — to ensure a cohesive visual style. 

How did you choose your lens package for this movie?

Morgenthau: After shooting many tests in consultation with Dan Sasaki [Panavision’s senior vice president of optical engineering and lens strategy], we used three different families of lenses tuned by Dan to shoot the movie. Panavision C Series anamorphic lenses were chosen for their unique vintage character, adding a nostalgic and grounded feel to the film's aesthetic. VA primes were used for shots we couldn’t achieve with the C Series, such as super wide-angle, close focus or fast T1.4-stop shots. We also shot a portion of the film for IMAX with Ultra Panatar II lenses in a 1.90:1 aspect ratio. The IMAX version of the film will switch between 2.39:1 and 1.90:1 aspect ratios. The IMAX sequences were reserved for action, big spectacles and VFX-heavy scenes. 

How has your approach to the craft changed from when you were getting started in your career?

Morgenthau: My approach to filmmaking has evolved over the years. Early in my career, my focus was deeply rooted in traditional techniques, working primarily with film. I honed my craft with film-based lighting ratios, Ansel Adam’s ‘Zone System,’ and a photochemical mindset that dictated much of my creative process. I also referenced and studied fine art and photography, but access to the work was more limited. As technology has advanced, I’ve adapted to digital cameras and modern post-production workflows. These tools have become more intuitive. I no longer consciously think about the transition between analog and digital methods — it’s simply an integral part of my process now.

On some recent projects, I have also experimented with more fluid camera movement, ambient and available light, low light, and image-making allowed by modern sensors and lenses. Other projects, like Captain America, call for more modeled lighting approaches and considered compositions.

On large-scale projects, collaboration and adaptability have become vital, particularly with the seamless integration of visual effects in mind. In general, I’ve adopted a more minimalist and, hopefully, efficient mindset, often opting for a smaller footprint on set. This not only fosters creativity but also creates a vibe on set that gives the actors and directors more freedom and creative space. I am more open to new ideas, feedback, and outside-of-the-box experimentation from disciplines and venues that didn’t exist or weren’t on my radar. The proliferation of image-making is ubiquitous now, and contemporary cinematography and image-based storytelling should reflect that.