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THIS IS INCREDIBLE! Oscar-Winning cinematographer, Greig Fraser, used an incredibly cheap filter, that production purchased on Amazon, to assist in creating some of the most beautiful shots (rainbow flares) in the film. This eventually shaped a beautiful motif that became such a pivotal part of the visual elements for the film and marketing. It all goes back to the sun. Filmmaking is truly magical. I asked Greig if he could send me a link to the actual filter. And now I share that link with you. As you’ll hear in this clip, Fraser speaks about using elements that anyone can use. For example, he was using a $40 lens for certain shots in Dune. Of course, it’s much more than a filter or a lens. It comes down to all the incredibly talented people working on the film, Greig’s journey with lighting and camera movement, the money put into the sets, lighting, performances, the incredible cameras and more. It’s just so cool to think that a cheap filter could be responsible for creating some of the more iconic shots in the film.

Clip from my “On Film…With Kevin McCarthy” podcast. Search the show title wherever you get your podcasts. This is an 80-minute conversation all about Greig Fraser’s brilliant work on Project Hail Mary and his incredible career from Dune to Batman and more.

A little context to the beginning. I was interviewing @phillordy and @chrizmillr back in February. Phil and Chris were guests on my podcast. As I was leaving the room, I was continuing to talk about Greig’s amazing work. Phil mentioned that I should ask Greig about this $8 dollar filter he used on the film. Well, Phil, I asked it. Thanks for the idea!

#greigfraser #projecthailmary #ryangosling #cinematography #filmmaking

Good team. Even better friends. #ProjectHailMary

BEHIND THE SCENES OF “PROJECT HAIL MARY”

- The 70-foot tunnel where Rocky meets Grace (#RyanGosling) was illuminated at once rather than using a single moving light to simulate sunlight passing through the entire space.

- Cinematographer Greig Fraser couldn’t rely on LEDs, so the team built a massive rig of old-school tungsten lights and pixel-mapped them to create a controllable, moving “sun” inside the tunnel.

- The eerie look of the sequence was inspired by deep-sea footage, with the tunnel designed to feel like descending into darkness, lit only by a single source.

- Rocky could only be front-lit and couldn’t emit any light of its own, so everything had to come from the “sun” source in the scene.

BEHIND THE SCENES OF “PROJECT HAIL MARY”

- The 70-foot tunnel where Rocky meets Grace (#RyanGosling) was illuminated at once rather than using a single moving light to simulate sunlight passing through the entire space.

- Cinematographer Greig Fraser couldn’t rely on LEDs, so the team built a massive rig of old-school tungsten lights and pixel-mapped them to create a controllable, moving “sun” inside the tunnel.

- The eerie look of the sequence was inspired by deep-sea footage, with the tunnel designed to feel like descending into darkness, lit only by a single source.

- Rocky could only be front-lit and couldn’t emit any light of its own, so everything had to come from the “sun” source in the scene.

BEHIND THE SCENES OF “PROJECT HAIL MARY”

- The 70-foot tunnel where Rocky meets Grace (#RyanGosling) was illuminated at once rather than using a single moving light to simulate sunlight passing through the entire space.

- Cinematographer Greig Fraser couldn’t rely on LEDs, so the team built a massive rig of old-school tungsten lights and pixel-mapped them to create a controllable, moving “sun” inside the tunnel.

- The eerie look of the sequence was inspired by deep-sea footage, with the tunnel designed to feel like descending into darkness, lit only by a single source.

- Rocky could only be front-lit and couldn’t emit any light of its own, so everything had to come from the “sun” source in the scene.

BEHIND THE SCENES OF “PROJECT HAIL MARY”

- The 70-foot tunnel where Rocky meets Grace (#RyanGosling) was illuminated at once rather than using a single moving light to simulate sunlight passing through the entire space.

- Cinematographer Greig Fraser couldn’t rely on LEDs, so the team built a massive rig of old-school tungsten lights and pixel-mapped them to create a controllable, moving “sun” inside the tunnel.

- The eerie look of the sequence was inspired by deep-sea footage, with the tunnel designed to feel like descending into darkness, lit only by a single source.

- Rocky could only be front-lit and couldn’t emit any light of its own, so everything had to come from the “sun” source in the scene.

BEHIND THE SCENES OF “PROJECT HAIL MARY”

- The 70-foot tunnel where Rocky meets Grace (#RyanGosling) was illuminated at once rather than using a single moving light to simulate sunlight passing through the entire space.

- Cinematographer Greig Fraser couldn’t rely on LEDs, so the team built a massive rig of old-school tungsten lights and pixel-mapped them to create a controllable, moving “sun” inside the tunnel.

- The eerie look of the sequence was inspired by deep-sea footage, with the tunnel designed to feel like descending into darkness, lit only by a single source.

- Rocky could only be front-lit and couldn’t emit any light of its own, so everything had to come from the “sun” source in the scene.

The cinematography of Greig Fraser | Name your favourite film(s)

The cinematography of Greig Fraser | Name your favourite film(s)

The cinematography of Greig Fraser | Name your favourite film(s)

The cinematography of Greig Fraser | Name your favourite film(s)

The cinematography of Greig Fraser | Name your favourite film(s)

The cinematography of Greig Fraser | Name your favourite film(s)

The cinematography of Greig Fraser | Name your favourite film(s)

The cinematography of Greig Fraser | Name your favourite film(s)

The cinematography of Greig Fraser | Name your favourite film(s)

The cinematography of Greig Fraser | Name your favourite film(s)

Cinematography by Greig Fraser.

The talented cinematographer has worked on several major franchises and films including Dune: Part One and Dune: Part Two, The Batman, Rogue One: A Star Wars Story, and most recently Project Hail Mary.

His breathtaking visual work, known for its dramatic lighting and immersive style, earned him an Academy Award for Best Cinematography at the Oscars in 2022.

What’s your favorite film shot by Greig Fraser?

Amazing shots by @greigfraser_dp, one of my favorite cinematographers of all time!

Movies in Order 🎬

Zero Dark Thirty (2012)
Lion (2016)
Rogue One: A Star Wars Story (2016)
Dune (2021)
The Batman (2022)
The Creator (2023)
Dune: Part Two (2024)
Project Hail Mary (2026)

Shots by Greig Fraser

@greigfraser_dp is one of the most incredible cinematographers working today. A tribute to my current favorite, through some of the shots that stayed with me (not limited to).

Movies and series featured:
Project Hail Mary (2026)
Dune (2021)
The Batman (2022)
Rogue One: A Star Wars Story (2016)
The Mandalorian
Lion (2016)
Snow White and the Huntsman (2012)
The Creator (2023)

Greig Fraser, ASC, ACS @greigfraser_dp - DP of Project Hail Mary @projecthailmary - crafts a technically ambitious sci-fi world through custom vertical anamorphic lenses, IMAX-driven workflows and intricate lighting systems that simulate gravity, circadian rhythm and deep space realism. Collaborating with Phil Lord and Christopher Miller, Fraser blends practical effects, Unreal Engine techvis and filmout techniques to create a tactile, emotionally grounded interstellar journey.

Captured primarily on the ARRI Alexa 65 with LF and Mini LF support, the production balanced large-format digital acquisition with a planned filmout to preserve photochemical texture. Fraser paired ARRI Rental bespoke anamorphics with Atlas Mercury 1.5x and Viltrox Luna lenses, tailoring aspect ratios from 1.43:1 IMAX to 2.39:1 to distinguish space from memory.

Read more in the April issue of American Cinematographer.

#AmericanCinematographer #Cinematography #Filmmaking

Greig Fraser, ASC, ACS @greigfraser_dp - DP of Project Hail Mary @projecthailmary - crafts a technically ambitious sci-fi world through custom vertical anamorphic lenses, IMAX-driven workflows and intricate lighting systems that simulate gravity, circadian rhythm and deep space realism. Collaborating with Phil Lord and Christopher Miller, Fraser blends practical effects, Unreal Engine techvis and filmout techniques to create a tactile, emotionally grounded interstellar journey.

Captured primarily on the ARRI Alexa 65 with LF and Mini LF support, the production balanced large-format digital acquisition with a planned filmout to preserve photochemical texture. Fraser paired ARRI Rental bespoke anamorphics with Atlas Mercury 1.5x and Viltrox Luna lenses, tailoring aspect ratios from 1.43:1 IMAX to 2.39:1 to distinguish space from memory.

Read more in the April issue of American Cinematographer.

#AmericanCinematographer #Cinematography #Filmmaking

Greig Fraser, ASC, ACS @greigfraser_dp - DP of Project Hail Mary @projecthailmary - crafts a technically ambitious sci-fi world through custom vertical anamorphic lenses, IMAX-driven workflows and intricate lighting systems that simulate gravity, circadian rhythm and deep space realism. Collaborating with Phil Lord and Christopher Miller, Fraser blends practical effects, Unreal Engine techvis and filmout techniques to create a tactile, emotionally grounded interstellar journey.

Captured primarily on the ARRI Alexa 65 with LF and Mini LF support, the production balanced large-format digital acquisition with a planned filmout to preserve photochemical texture. Fraser paired ARRI Rental bespoke anamorphics with Atlas Mercury 1.5x and Viltrox Luna lenses, tailoring aspect ratios from 1.43:1 IMAX to 2.39:1 to distinguish space from memory.

Read more in the April issue of American Cinematographer.

#AmericanCinematographer #Cinematography #Filmmaking

Greig Fraser, ASC, ACS @greigfraser_dp - DP of Project Hail Mary @projecthailmary - crafts a technically ambitious sci-fi world through custom vertical anamorphic lenses, IMAX-driven workflows and intricate lighting systems that simulate gravity, circadian rhythm and deep space realism. Collaborating with Phil Lord and Christopher Miller, Fraser blends practical effects, Unreal Engine techvis and filmout techniques to create a tactile, emotionally grounded interstellar journey.

Captured primarily on the ARRI Alexa 65 with LF and Mini LF support, the production balanced large-format digital acquisition with a planned filmout to preserve photochemical texture. Fraser paired ARRI Rental bespoke anamorphics with Atlas Mercury 1.5x and Viltrox Luna lenses, tailoring aspect ratios from 1.43:1 IMAX to 2.39:1 to distinguish space from memory.

Read more in the April issue of American Cinematographer.

#AmericanCinematographer #Cinematography #Filmmaking

Greig Fraser, ASC, ACS @greigfraser_dp - DP of Project Hail Mary @projecthailmary - crafts a technically ambitious sci-fi world through custom vertical anamorphic lenses, IMAX-driven workflows and intricate lighting systems that simulate gravity, circadian rhythm and deep space realism. Collaborating with Phil Lord and Christopher Miller, Fraser blends practical effects, Unreal Engine techvis and filmout techniques to create a tactile, emotionally grounded interstellar journey.

Captured primarily on the ARRI Alexa 65 with LF and Mini LF support, the production balanced large-format digital acquisition with a planned filmout to preserve photochemical texture. Fraser paired ARRI Rental bespoke anamorphics with Atlas Mercury 1.5x and Viltrox Luna lenses, tailoring aspect ratios from 1.43:1 IMAX to 2.39:1 to distinguish space from memory.

Read more in the April issue of American Cinematographer.

#AmericanCinematographer #Cinematography #Filmmaking

Greig Fraser, ASC, ACS @greigfraser_dp - DP of Project Hail Mary @projecthailmary - crafts a technically ambitious sci-fi world through custom vertical anamorphic lenses, IMAX-driven workflows and intricate lighting systems that simulate gravity, circadian rhythm and deep space realism. Collaborating with Phil Lord and Christopher Miller, Fraser blends practical effects, Unreal Engine techvis and filmout techniques to create a tactile, emotionally grounded interstellar journey.

Captured primarily on the ARRI Alexa 65 with LF and Mini LF support, the production balanced large-format digital acquisition with a planned filmout to preserve photochemical texture. Fraser paired ARRI Rental bespoke anamorphics with Atlas Mercury 1.5x and Viltrox Luna lenses, tailoring aspect ratios from 1.43:1 IMAX to 2.39:1 to distinguish space from memory.

Read more in the April issue of American Cinematographer.

#AmericanCinematographer #Cinematography #Filmmaking

‘Project Hail Mary’ has shattered box office expectations, earning $140.9 million globally, making it both the biggest opening for a 2026 film so far and Amazon MGM Studios’ biggest opening in its history.

The film follows Ryland Grace, a science teacher played by Ryan Gosling, who wakes up alone aboard a spaceship with no memory of who he is or how he got there, only to remember that he has been sent on a last-chance mission to save Earth from an extinction-level threat.

As he slowly recovers his memory, he begins to grasp the true scale of his mission and the pressure it carries. And when he meets Rocky, an alien on a mission of his own, everything changes. Alone no longer, Grace must navigate the unknown, confront challenges he never imagined, and forge an unexpected bond that turns a fight for survival into a story of connection, hope, and bravery.

Adapted from Andy Weir’s novel, also the author behind ‘The Martian’, this film stands out for its sense of positivity and optimism, a tone rarely seen in sci-fi films, where stories more often tend to lean in a darker direction.

Have you seen this film yet? What are your thoughts?

Here’s to believing in the Hail Mary. #ProjectHailMary is certified fresh. 👐

‘Chiaroscuro’, a film by Academy Award winning Cinematographer @greigfraser_dp and @armadilloandco co-founder @jodiefried.

A cinematic ode to the interplay of nature, artistry and craft, #Chiaroscuro follows the making of @armadilloandco’s #GAIA Collection – and the quiet cadence of creation.

Cinematographer / Filmmaker: @greigfraser_dp
Creative Director: @jodiefried
Creative Agency: @invisiblenorth
Executive Creative Director / Head of Film & Content: @narimanhamed
Executive Producer / Senior Creative Content Lead: @kodinajm
Creative Director / Copywriter: Jacob Follini-Press
Editor: @lorinaskill
Trailer Editor: @petroskey_
Barcelona Crew: @pablo.rothschild, David Lozano
AUS DOP: @jackbirtles
AUS 1st AC: @naksone
AUS Crew: @gmfilm, @nik_damianakis, @julianpertout
Additional footage: @spencerfrostfilms, @edwinhaighton, @artgrid.io
Music & Sound: @qdepartmentstudios
Camera & Processing: @blackmagicnewsofficial, @fotokem_la, @fujifilmx_au
Featuring: @carla_cascales_alimbau @mariammoreiraz

Chiaroscuro, a motion image created by Oscar-winning cinematographer @greigfraser_dp, captures the intersection of nature, art, and craft. Filmed across India, Nepal, Australia, and Spain, it traces the making of @armadilloandco’s GAIA Collection, and the quiet rhythm of creation itself. Directed by Armadillo’s co-founder @jodiefried, Chiaroscuro is a meditation on the act of making, and the invisible thread that binds hand, material, and landscape.

Discover GAIA in full at the link in bio.

Cinematographer / Filmmaker: @greigfraser_dp
Creative Director: @jodiefried
Creative Agency: @invisiblenorth
Executive Creative Director / Head of Film & Content: @narimanhamed
Executive Producer / Senior Creative Content Lead: @kodinajm
Creative Director / Copywriter: Jacob Follini-Press
Editor: @lorinaskill
Trailer Editor: @petroskey_
Barcelona Crew: @pablo.rothschild, David Lozano
AUS DOP: @jackbirtles
AUS 1st AC: @naksone
AUS Crew: @gmfilm, @nik_damianakis, @julianpertout
Additional footage: @spencerfrostfilms, @edwinhaighton, @artgrid.io
Music & Sound: @qdepartmentstudios
Camera & Processing: @blackmagicnewsofficial, @fotokem_la, @fujifilmx_au
Featuring: @carla_cascales_alimbau @mariammoreiraz