Grieg Fraser: ‘Project Hail Mary’s Secret Weapon Who Abandoned Two $1 Billion Hollywood Franchises

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The movie , directed by Phil Lord and Chris Miller, has been a critical and commercial success. While the film is based on the popular science fiction novel by Andy Weir, its stunning visuals – particularly the vibrant depictions of space – are a major reason for its appeal, as Ryan Gosling’s character journeys further into the mysteries of the universe.

As a movie buff, I’ve really been noticing the incredible work of Greig Fraser lately. He’s the cinematographer behind some visually stunning films, like the Dune movies. I remember being blown away by how good Rogue One: A Star Wars Story looked – that was his first big space opera, and it was seriously impressive from a technical standpoint. And he totally nailed the dark, moody atmosphere of The Batman, too. He really knows how to make a film look amazing.

Greig Fraser’s Cinematography Turns the Theatrical Experience Into a Necessity

Greig Fraser skillfully brought the unique creative visions of Phil Lord and Chris Miller to life in Project Hail Mary. His stunning work is a major factor in the film’s successful opening weekend, where it earned $80.6 million domestically. Notably, 20% of that revenue came from IMAX screenings – the format the movie was specifically filmed and marketed for – and the immersive experience these screenings provide has helped the film quickly gain widespread popularity.

The team behind Project Hail Mary has been sharing photos from the projection booth, highlighting the massive screens and stunning visuals that cinematographer Hoyte van Hoytema brought to life, especially in the immersive IMAX format. Van Hoytema used a unique process, similar to what he did on The Batman, where footage was shot digitally, then transferred to film, and back to digital again to create a richer, more textured look. This is all building excitement for the film and encouraging audiences to see it together in theaters – something directors like Christopher Nolan and Denis Villeneuve have long championed.

The film Project Hail Mary has a classic science fiction feel, reminiscent of movies like 2001: A Space Odyssey and Interstellar. It was filmed using two different aspect ratios: scenes in space are in a 1.43:1 format, while Earth scenes are 2.39:1. Even without seeing it in 70MM film in an IMAX theater, the digital version is incredibly vivid and colorful. Cinematographer Fraser skillfully utilizes the available technology to create stunning visuals that enhance the film’s story, much like he did with Dune and The Batman – franchises he will no longer be working on.

Whether on Earth or in Space, Fraser’s Cinematography Excels in Storytelling of Its Own

Although Fraser has done excellent work on well-known films like Dune: Part Two and The Batman, Project Hail Mary feels like a truly special achievement. The scenes showing Earth are intentionally hazy and reminiscent of old memories, which powerfully connects the audience to Ryan Gosling’s character, Ryland Grace. The space sequences, filmed in a wider 1.43:1 aspect ratio, are incredibly immersive, and the use of colors like green and red beautifully highlights the alien landscape. One standout shot, captured with Alexa 65 cameras, shows Grace collecting samples from a line of organisms (“the Petrova Line”) extending from the planet Adrian while standing outside the Hail Mary spacecraft.

Because the Petrova Line appeared bright red in the film, cinematographer Hoyte van Hoytema removed an infrared filter from a camera. This shifted the scene’s colors from the typical black and green of space to a striking red, drawing viewers into the world of the Astrophage – a beautiful but deadly force threatening Earth. Van Hoytema isn’t just skilled at grand, sweeping shots; he also excels at capturing intimate moments, like extreme close-ups of Grace reacting to the scene. The film is full of these intense, emotional close-ups. To further enhance the dreamlike quality of the red visuals, he ran water between glass panels in front of the camera lens, creating a magical effect.

While Greig Fraser May Be Absent From ‘Dune’ and ‘Batman,’ Other Talented Artists Will Be Stepping In

The stunning visuals in Project Hail Mary have really contributed to its success, and it highlights what The Batman and Dune will be missing. Fraser had to leave both of those franchises because he’s committed to working on all four of Sam Mendes’s Beatles films. While those biopics promise to be exciting, it’s a shame he won’t be able to continue building the universes of Gotham and Arrakis.

Despite the change in cinematographers, these films still look promising. Linus Sandgren, known for his work on films like La La Land, Wuthering Heights, and Jay Kelly, brought a fresh visual style to Dune: Part Three. Meanwhile, Oscar winner Erik Messerschmidt will be filming the sequel to The Batman. He’s expected to maintain the dark and realistic look established by Fraser, likely drawing on his experience with classic filmmaking techniques from films like The Killer and Mank to create a unique atmosphere for the epic crime story.

Ultimately, Project Hail Mary succeeds so brilliantly thanks to its strong writing, directing, and acting, but also because of the exceptional visual work. The director of photography skillfully uses every filmmaking technique – from aspect ratios and lens selection to how shots are composed – to create a truly stunning and immersive experience. Though he’s moving on from science fiction after his work on Dune, he’s certainly ending his run in the genre with a masterpiece.

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2026-04-01 17:05