Daredevil: Born Again cinematographers Hillary Fyfe Spera and Pedro Gómez Millán were both admirers of the original Daredevil on Netflix. As the lead cinematographer on the new series, Hillary wanted to bring something new to the look of the story. “The goal was to evolve it, to bring it to a more cinematic realm,” she says. This vision was achieved through the use of anamorphic lenses, lending a more elevated and cinematic feel. Influenced by 1970s cinema, particularly The French Connection, they established a strong visual reference point.

Production, initially launched in 2022, was interrupted by the writers’ strike. This hiatus allowed the showrunners to reassess the existing footage. Upon resumption, the production underwent rewrites and the addition of new material. Hillary was the DP for episodes 1, 2, 3, 6, 7, 8, and 9, while Pedro shot episodes 4 and 5 and additional photography. Their collaborative approach was essential to maintaining a cohesive visual style. “We didn’t want every episode to look the same,” says Pedro, “so what can we do to make it better? It’s about being a team player and executing that one single vision that everybody’s on board for.”

A key challenge was visually representing Daredevil’s heightened senses due to his blindness. Hillary explains, “One of our challenges that we collaborated on was the sensory stuff. We’re trying to represent a visual thing that’s not visual, so it was fun to put our heads together and see what worked and what didn’t work.” Consistent communication was facilitated by a shared camera crew, ensuring a unified visual approach across episodes. The process kept the production dynamic and engaging.

To define the visual world of Daredevil: Born Again, both DPs employed a range of cinematic techniques. Color transitioned from a desaturated palette to increased saturation as the narrative progressed, with a heightened use of red to signify Matt Murdock’s return to his Daredevil persona. These choices were meticulously planned in collaboration with the production designer.

Hard lighting was strategically used to emphasize that there was nowhere to hide in the courtroom settings. Pedro enjoyed using hard light on Fisk/Kingpin, noting, “Let’s take the hard light and make it interesting, especially because these two actors can take it. It goes with the character and the story. He’s in the spotlight as the New York City mayor.”

Camera movement in the show was also carefully considered. Matt Murdock’s world is depicted with handheld shots, conveying a sense of immediacy, while Fisk’s world is characterized by locked-down shots, dollies, and wide-angle close-ups, reflecting his power and control. Hillary chose to use many long zooms throughout the show. “We called them ‘doom zooms,’” she explains. “This impending doom that’s happening in the first season, it’s all relentlessly crushing down. And so the zooms are doing the same thing- they’re pushing in and targeting one thing.”

You can see Daredevil: Born Again on Disney+
Find Hillary Fyfe Spera: Instagram @hillaryspera
Find Pedro Gomez Millan: Instagram @pedrogmillan

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