Project Hail Mary : technique!

Project Hail Mary currently a box office success film appreciated for its innovative visual scheme cinematography by Greg Fraser.

Project Hail Mary – Cinematography Breakdown (Greig Fraser ACS ASC)

To create the vastness of space surrounding the spacecraft and the alien planet Adrian, the production combined ILM’s visual effects with a large-scale practical spaceship set, allowing for grounded physical interaction.

Actor Ryan Gosling was suspended on wires to realistically simulate zero gravity movement, giving the performance a natural spatial behavior that VFX alone cannot achieve.

Infrared Imaging & Alexa 65 Approach

Cinematographer Greig Fraser ACS ASC employed the ARRI ALEXA 65, modifying its standard configuration by removing infrared (IR) filtration.

This allowed the sensor to capture near-infrared wavelengths, resulting in:

Subtle color contamination shifts

A distinct otherworldly tonal response

Enhanced separation of materials not visible in normal spectrum imaging

To further exploit this, the team designed a custom lighting rig:

A cage embedded with blinking infrared LEDs

Invisible to the human eye on set

But rendered on camera as soft pink bokeh highlights

This technique created a visual language for alien space, suggesting wavelengths beyond human perception—without relying purely on CGI.

Textural Cinematography – “Wet Space” Feel

For specific sequences, Fraser introduced an experimental handheld glass rig:

Water was poured between two layers of glass

Shot through using a handheld setup

Result: a smeared, fluid, refracted image texture

This gave certain moments a visceral, organic distortion, contrasting with the otherwise controlled precision of space imagery.

Lens & Format Strategy

The film was primarily captured on the ARRI ALEXA 65, paired with a curated mix of lenses:

Fraser used aspect ratio as a narrative tool:

1.43:1 IMAX → Expansive, immersive space sequences

2.39:1 anamorphic → Memory, intimacy, and human perspective

This shift in format subtly guides the audience between scale and subjectivity.

Key Insight

Rather than portraying space as clean and clinically perfect, Fraser’s approach introduces:

Imperfection

Spectral ambiguity

Textural depth

The result is a visual experience that feels less like observing space—and more like perceiving the unknown.

Optical Experimentation – Low-Cost, High Impact

Alongside large-format cameras and bespoke anamorphic lenses, Greig Fraser also embraced inexpensive rainbow diffraction filters, reportedly sourced from consumer platforms like Amazon.

Rather than relying solely on post-production effects, these filters were used in-camera to introduce:

Prismatic light streaks

Subtle spectral flares

Color separation across highlights

Why This Matters

This choice reflects a key philosophy:

Advanced cinematography is not about expensive tools alone—but about how creatively you manipulate light.

By combining:

ARRI ALEXA 65 (top-tier imaging)

With simple diffraction filters (low-cost tools)

Fraser achieves a layered image that feels:

Organic

Unpredictable

Physically grounded

Visual Function in the Film

The rainbow filters help:

Break the “clean perfection” of digital space imagery

Introduce a cosmic, refracted quality to light

Suggest unknown physics and environment

They work beautifully alongside:

Infrared lighting techniques

Anamorphic optics

Glass-and-water distortion

A powerful lesson here:

Don’t wait for expensive gear

Experiment with available tools

Even a simple filter can create a signature visual identity

Article by

CJ Rajkumar

Author/ Cinematographer

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