The highly anticipated first trailer for James Gunn’s Superman movie has been released, offering a vibrant, energetic reimagining of the iconic hero. Shot on RED Digital Cinema cameras by celebrated cinematographer Henry Braham, the film’s visual style departs significantly from Zack Snyder’s darker and more desaturated take on Superman in Man of Steel. This stylistic evolution is a hot topic among fans and filmmakers alike, sparking discussions about the creative choices behind the camera.

A Tale of Two Supermen: Gunn vs. Snyder

Both Gunn and Snyder have an affinity for RED’s large-sensor digital cinema cameras, but their approaches couldn’t be more different. While Snyder’s Man of Steel employed the ARRIFLEX film camera to achieve a gritty and textured aesthetic (explored in our article “The Best Film Cameras for 2024”), Gunn’s Superman is steeped in vibrant saturation and crisp digital clarity. Check out thee trailers below: 

Braham’s use of the RED V-Raptor, certified for IMAX (as detailed in “IMAX Certifies the RED V-Raptor as a Filmed for IMAX Camera”), ensures that every frame is bursting with life. The camera’s 8K capabilities deliver breathtaking resolution, making the colors pop and emphasizing the dynamic energy of Gunn’s direction. This is a stark contrast to Snyder’s restrained palette, which utilized desaturation to underscore the weight and complexity of Superman’s journey.

A Look Back: Snyder’s Visual Legacy

Zack Snyder’s visual style has always been a defining feature of his films, including Man of Steel. The director’s decision to shoot on film, paired with the ARRIFLEX cameras, brought a tangible, organic feel to his Superman. However, since then, Zack has chosen RED VV sensors. For instance, Snyder’s later projects, such as Army of the Dead, saw him experimenting with wide-open apertures and custom lenses, as noted in “Zack Snyder Goes Again Wide Open with a Bespoke Summiscope”.

Even in other projects like Superman & Lois, which was shot on RED MONSTRO cameras, the Snyder aesthetic remained intact (although he was not involved), showcasing muted tones and dramatic contrast (“Superman & Lois Preserves the Snyder Look”). You can enter Zack’s mind here when he teaches filmmaking.

Enter the Stabileye Nano

Henry Braham’s work on Gunn’s Superman is further enhanced by the use of the Stabileye Nano, a cutting-edge compact stabilization system. The Stabileye Nano allows for unparalleled freedom of movement, enabling Braham to capture complex and dynamic sequences with ease. This lightweight stabilization tool excels in providing fluid motion while maintaining precision, making it ideal for high-energy action scenes and intricate camera choreography. By utilizing the Stabileye Nano, Braham brings a sense of kinetic energy to Gunn’s Superman that feels both modern and immersive. This approach perfectly complements the vibrant, saturated visuals achieved with the RED V-Raptor. The combination of the Nano’s versatility and the V-Raptor’s unmatched resolution ensures that the film’s aesthetic is as dynamic as its storytelling. Braham’s style, marked by his ability to balance technical mastery with creative expression, shines through in every frame. His focus on creating a visually engaging and fluid cinematic experience elevates the movie’s overall tone, distinguishing it from Snyder’s more grounded and methodical approach. Learn more about Braham’s tools in “Superman Shot on RED Digital Cinema by Henry Braham”.

What Do Fans Think?

The shift from Snyder’s brooding, introspective Superman to Gunn’s lively and colorful take has already divided fans. Some appreciate the fresh perspective and the embrace of brighter tones, while others miss the depth and gravitas of Snyder’s vision. The debate also highlights the broader evolution of superhero cinema and how filmmakers balance homage with innovation. Which style do you prefer? Do you think the shift in visual tone complements the story of Superman, or does it stray too far from the character’s established cinematic legacy?