Greig Fraser, the cinematographer renowned for his work on “The Batman,” “Dune,” and “Rogue One,” calls his latest project, Project Hail Mary, the most challenging film he has ever worked on. This science fiction film, based on Andy Weir’s novel, is directed by Phil Lord and Chris Miller and stars Ryan Gosling as Ryland Grace, a science teacher and molecular biologist who embarks on an interstellar mission to save Earth from impending disaster. Throughout the film, Grace encounters an alien named Rocky, adding another layer of complexity to the visual storytelling.

Fraser, known for his skill in creating visually striking scenes, faced significant challenges while working on Project Hail Mary, particularly when it came to shooting one of the film’s most crucial scenes—the tunnel that leads to the first meeting between Grace and Rocky. The film deviates from traditional space film visuals by embracing warmer tones like orange, departing from the typical cold and desaturated colors associated with space. The tunnel, made of a material called xenonite in the story, was key to this departure. Fraser describes the process of discovering the tunnel’s aesthetic as an evolving journey. The scene required sunlight to filter through the tunnel, but the problem was that the tunnel was 70 feet long, creating a unique lighting challenge.

In discussing his approach to lighting the tunnel, Fraser reveals that traditional techniques, such as using lights on frames moved over windows or through openings, weren’t feasible. Instead, Fraser had to find a way to ensure that the entire tunnel was illuminated by the sun. He drew inspiration from footage of deep-sea submersibles, where underwater divers rely on the light from their ships or headlamps to navigate the pitch-black depths. “The tunnel had a bit of scariness to it at the beginning. It had to feel a little bit like he was going into a well,” Fraser says.

To achieve the lighting effect, Fraser and his team used old tungsten lights, as they physically couldn’t obtain enough LEDs for the job. These lights were pixel-mapped, allowing them to control the light’s movement and create the illusion of sunlight filtering through the tunnel in various configurations. The use of tungsten lights instead of LEDs was a conscious choice that harkened back to traditional lighting methods. Additionally, Fraser used a rainbow filter he discovered online to create multi-colored flares, which became a prominent visual motif throughout the film.

Fraser also experimented with his camera setup, opting for the Alexa 65, a wide-screen sensor. However, he made a unique decision to squeeze the footage vertically rather than horizontally, an unconventional approach that contributed to the film’s distinct look. By altering the aspect ratio, Fraser was able to ensure that flares would streak vertically across the screen instead of horizontally, adding an extra layer of visual interest. The combination of creative lighting techniques and a carefully chosen camera allowed Fraser to create a visually immersive experience that resonated with the film’s narrative.

The collaboration between Fraser and the film’s production designer, Charles Wood, was crucial in fine-tuning the look of the tunnel. The design needed to strike a delicate balance, allowing enough light to pass through the tunnel’s surface while maintaining its opacity, preventing it from looking transparent or overly artificial. Through extensive testing, Fraser and Wood ensured the perfect finish on the inside of the tunnel to achieve the desired lighting effect without sacrificing the realism of the scene.

The filming process was further complicated by the presence of Rocky, the alien. Unlike human characters, Rocky had no facial features or skin tone, making the task of lighting him even more challenging. Fraser could only front-light the character, as any light emanating from Rocky was prohibited by the story’s constraints. The challenge intensified as Fraser had to light a faceless, rock-like creature, requiring intricate techniques to bring emotion and character to Rocky through puppetry alone. Fraser humorously remarks, “If you talk to any DP, you’ll know that is what we have, we wake up in cold sweats.” Lighting the alien with no face and minimal physical traits added another layer of complexity to an already demanding task.

For Fraser, the project was filled with one challenge after another. “It wasn’t just a challenge. It was a challenge on a challenge, on top of a challenge, under a challenge, through a challenge,” he says, reflecting on the difficult but rewarding process of bringing the film to life. Despite these obstacles, Fraser’s skillful use of lighting, camera techniques, and collaboration with the production team contributed to the film’s unique visual identity.

With Project Hail Mary, Fraser sought to bring a human, analog feel to the visuals, drawing inspiration from classic films such as Solaris, Alien, and 2001: A Space Odyssey. He and the filmmakers intentionally avoided digital clarity, opting for a more tactile and earthy aesthetic, which aligned with the film’s emotional and narrative goals. In the end, Fraser’s dedication to achieving the right look for the film resulted in a visually stunning and thematically resonant experience for audiences.