Bigger is Better for the Last Dance

Director of photography Fabian Wagner, ASC, BSC stepped into some big shoes when he took on the feature film Venom: The Last Dance. Previous entries in Sony’s Venom franchise had been shot by masters of the craft Matthew Libatique, ASC and Robert Richardson, ASC.

Wagner, winner of two ASC Awards and two Emmys, brought to the assignment his experience handling reshoots for Richardson on Venom: Let There Be Carnage. On that job, he worked with Kelly Marcel, which was an advantage when it came to the new film, which she directed.

Tom Hardy with director Kelly Marcel on the set of Venom: The Last Dance (image credit: Columbia Pictures)

"IT WAS TO EXPAND IN EVERY CONCEIVABLE WAY"

Wagner says that the remit was to stay within the general Venom universe, while not being shy about taking things further.

“The Venom films have their own subtly distinct look compared to the Avengers-style approach,” Wagner says. “It’s a little more gritty, and it can be darker and more high contrast. And the script for our film made it a kind of road movie, which further opens up the whole universe and presents fresh opportunities.”

Marcel and Wagner discussed the film off and on for a two-year period, and the essence of their take was “bigger.” The new film was to expand in every conceivable way.

Tom Hardy with director Kelly Marcel revewing a take from Venom : The Last Dance (image credit: Columbia Pictures)

As it turned out, that philosophy even extended to the format. Wagner was drawn to ARRI Alpha anamorphic lenses combined with the ALEXA 35 camera, and in fact began the project that way. But IMAX deliverables required a switch to the ALEXA Mini LF, which uses CODEX recording and workflow technologies to deliver a large format image rich enough for IMAX exhibition. Shooting anamorphic on the Mini LF chip also gave visual effects some room to reposition, a significant upside.

“I love the subtlety and flaring of those lenses, and switching to the Mini LF allowed me to stay with that glass,” says Wagner. “On the big screen, it’s great – just beautiful.”

“I HAVE LITERALLY NEVER LOST ANY FOOTAGE. SAFETY AND RELIABILITY IS WHAT YOU WANT”

A key ally for Wagner is Digital Imaging Technician, Ian Marrs. They’ve been together more than a decade, since Game of Thrones and House of the Dragon, during which time the tools have continually evolved. ARRI often consults with Marrs about how to improve their gear. “I like the simplicity of the CODEX system,” Marrs says. “I have literally never lost any footage. Safety and reliability is what you want. I don’t need any additional stress.”

DIT Ian Marrs at workstation

Wagner and Marrs have become good friends over the years. “I love working with him,” says Wagner. “I’m not a very technical cinematographer, and he’s very good and thorough with all those aspects. But most importantly, he is creative as well. I can trust him and rely on him to keep an eye on everything. That’s even more important because I operate quite often. I can focus on that and he will tell me whether it’s working in terms of colour and contrast. He also makes sure my intentions are communicated down the line. It really enhances and improves what I do.”

Wagner’s next assignment is Masters of the Universe, a Mattel property that combines medieval sword-and-sorcery with sci-fi space elements. It’s another opportunity to fine-tune the procedures.

“I’m bringing my final colourist into the mix very early, so we can actually design the LUT together,” says Wagner. “Then, Ian and I can refine the whole process. I think it will be great because that way, what we see and shoot on the set can be more accurately directed towards what I’m going to do in the final colour. The idea is to be more efficient with greater creative control. That’s always the goal, right?”

A smoother workflow means that filmmakers can stay flexible and keep the focus on creativity. “Fabian is so good at thinking on his feet,” says Marrs. “It seems effortless. When the director asks for a change, he takes one breath, and he’s on it straightaway, adapting and still getting the results. He’s a great organizer, and very personable. He cares about your family and takes time to talk to everyone. He’s my favourite DP to work with.”

At last count, Venom: The Last Dance had taken in half a billion dollars in ticket sales worldwide, several times its rumoured production budget. Masters of the Universe is scheduled for release in June 2026.