Spider-Man cinematography — film frames and visual analysis

2002 · 604 frames · Directed by Sam Raimi

Explore 604 frames from Spider-Man and study the film’s composition, color palette, lighting, shot scale and aspect ratio. Open any frame to use composition guides, color analysis and false color tools.

604 frames 1.85:1 Mostly wide shots
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Medium shot frame from Spider-Man — sitting, room, shirt
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Medium shot · Medium brightness · Muted orange
Wide shot frame from Spider-Man — standing, room, dialogue
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Wide shot · Medium brightness · Dark purple
Wide shot frame from Spider-Man — person, human face, smiling
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Wide shot · Medium brightness · Red
Wide shot frame from Spider-Man — suit, person, footwear
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Wide shot · High brightness · Muted orange
Wide shot frame from Spider-Man — shirt, face, hair
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Wide shot · Medium brightness · Dark pink
Wide shot frame from Spider-Man — standing, room, table
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Wide shot · Medium brightness · Dark blue
Wide shot frame from Spider-Man — standing, door, furniture
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Wide shot · High brightness · Muted green
Wide shot frame from Spider-Man — standing, room, shirt
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Wide shot · Medium brightness · Dark orange
Wide shot frame from Spider-Man — street, house, lamp
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Wide shot · High brightness · Light teal

Visual profile of Spider-Man

This visual profile is calculated from 604 frames available in the WatchTheFrame collection.

Color palette of Spider-Man

Dark red 14.7% · 463 frames Gray 12.1% · 383 frames Dark blue 10.5% · 238 frames Dark gray 10.4% · 356 frames Muted red 9.6% · 358 frames Muted orange 9.4% · 277 frames Dark orange 8.6% · 283 frames Orange 3.1% · 162 frames Black 3% · 121 frames Dark purple 2.6% · 133 frames Dark pink 2% · 109 frames Red 1.9% · 155 frames Dark yellow 1.4% · 55 frames Muted blue 1.4% · 101 frames

Lighting and tonal range

Brightness: higher than 87% of films in the collection
DarkBright
Contrast: higher than 76% of films in the collection
LowHigh
  • The analysed frames are brighter than most films in the WatchTheFrame collection.
  • Saturated colors appear frequently in these frames.
  • These frames contain a relatively high share of high-contrast images.

Composition and shot characteristics

Wide shot — 90% — 541 frames541Medium shot — 9% — 53 frames53Close-up — 0% — 1 frames1

Explore the visual relationships

Man on the Moon (1999)
92% color similarity Rocketman (2019)
92% color similarity The New Guy (2002)
92% color similarity Strictly Ballroom (1992)
92% color similarity The Fighter (2010)
92% color similarity Dream Scenario (2023)
91% color similarity Passion Fish (1992)
91% color similarity Dodgeball: A True Underdog Story (2004)
90% color similarity Coming to America (1988)
90% color similarity Practical Magic (1998)
90% color similarity Female Trouble (1974)
89% color similarity Menace II Society (1993)
89% color similarity Cool Runnings (1993)
89% color similarity Todo sobre mi madre (1999)
88% color similarity 21 Jump Street (2012)
86% color similarity

Visual palette across 2 films directed by Sam Raimi

2004 · Spider-Man 2

Films directed by Sam Raimi

Spider-Man 2
387 frames
Explore Sam Raimi visual profile

Visual tags in Spider-Man

spider fireplace balloon newspaper billboard insect skyscraper computer keyboard taxi traffic light microphone bus camera people action fire computer monitor show trousers convenience store poster building stairs jacket

Films with a similar visual profile

The Fighter (2010)
95% match · 196 frames
The New Guy (2002)
95% match · 461 frames
Dodgeball: A True Underdog Story (2004)
93% match · 640 frames
Rocketman (2019)
93% match · 560 frames
Female Trouble (1974)
93% match · 309 frames
Todo sobre mi madre (1999)
93% match · 284 frames
Man on the Moon (1999)
93% match · 547 frames
Dream Scenario (2023)
92% match · 400 frames
Coming to America (1988)
92% match · 541 frames
Passion Fish (1992)
92% match · 411 frames
Practical Magic (1998)
92% match · 688 frames
Strictly Ballroom (1992)
91% match · 489 frames

About this collection

Metrics on this page are calculated from 604 frames available for Spider-Man in the WatchTheFrame collection. They describe the analysed frames, not the film as a whole.