“Spider-Noir,” a new eight-episode series streaming on MGM+/Prime Video, offers viewers a distinctive take on the Spider-Man universe set in 1930s New York. Starring Nicolas Cage as Ben Reilly, a private investigator navigating a gritty, noir-infused city inhabited by gangsters and mutant “Supers,” the show experiments with dual visual styles that shape the storytelling experience.

Inspired by the Marvel comic “Spider-Man Noir” and the monochrome character Cage voiced in the animated film “Spider-Man: Into the Spider-Verse,” which was executive produced by Phil Lord and Chris Miller, the series presents two visual formats: a high-contrast, shadow-heavy black-and-white version and a vibrant, Technicolor-inspired alternative dubbed “True-Hue.” The choice of format influences the tone and mood through which the narrative is perceived, blending noir and sci-fi elements.

Co-showrunner Oren Uziel, known for his work on “22 Jump Street,” and superhero specialist Steve Lightfoot, recognized for Marvel’s “The Punisher,” helmed the project. Uziel described the ambitious dual-visual approach as unprecedented. Initially intended to be shot solely in black and white to evoke classic Expressionistic style, the show incorporated a simultaneous production workflow after the decision was made to offer a color option during preparation. This required the creation of a novel process to colorize the monochrome footage while maintaining consistent aesthetic value across both formats.

The production utilized on-set black-and-white shooting with digital cameras and custom image mapping, while parallel conversion efforts adjusted color palettes to satisfy the demands of both viewing experiences. Cinematographer Darran Tiernan, known for “The Penguin,” led the cinematography on six episodes, with Peter Deming, a frequent collaborator of David Lynch, handling the visually experimental Episodes 5 and 6 that delve into Reilly’s backstory.

Tiernan drew inspiration from classic noir films such as John Huston’s “The Maltese Falcon,” Stanley Kubrick’s “The Killing,” Orson Welles’ “The Lady From Shanghai,” and Otto Preminger’s “Fallen Angel,” whose innovative camera movements impressed him. For the color sequences, his references included early hand-tinted black-and-white films, Michael Powell and Emeric Pressburger’s “The Red Shoes,” and Alfred Hitchcock’s “Vertigo.” He emphasized the contrasting atmospheres the two palettes create: monochrome being mysterious and foreboding, and color presenting a glamorous, romantic dimension.

Deming, stepping in mid-production, praised the aggressive black-and-white approach for effectively evoking a vintage feel, while noting the color imagery was distinct from conventional palettes. His episodes showcase heightened use of monochromatic lighting to reflect internal turmoil, notably in a lab sequence where Reilly confronts his emotional struggles under intense, old-school spotlighting techniques.

One notable scene features the character Cat Hardy (played by Li Jun Li) performing “Dream a Little Dream of Me” in a nightclub. In black and white, the sequence emphasizes seductive shadows and movement, while the color version highlights the striking gold tones of Hardy’s costume, visually conveying the protagonist’s captivation.

Uziel expressed hopes that the series’ innovative visual duality will engage a wide audience. He suggested that fans of Spider-Man might discover an appreciation for the noir aesthetic through the monochrome format, while noir enthusiasts might find the color sequences offer a fresh, comic-book-style perspective. The creative blending of stylistic traditions aims to broaden the appeal of this unique narrative approach.