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#GreigFraser

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Project Hail Mary used no green or blue screens, instead building a massive 360-degree spaceship set that allowed full camera movement. Even the space sequences avoided green screens, Ryan Gosling was filmed against black backgrounds for spacewalks, with real lighting used to mimic sunlight, while colored backdrops and LED walls created natural reflections for planetary scenes. The ship was mounted on a hydraulic gimbal, so Ryan Gosling had to physically move through a tilting, shaking environment. The team worked closely with NASA and astronaut Kjell Lindgren to keep things grounded.
Project Hail Mary used no green or blue screens, instead building a massive 360-degree spaceship set that allowed full camera movement. Even the space sequences avoided green screens, Ryan Gosling was filmed against black backgrounds for spacewalks, with real lighting used to mimic sunlight, while colored backdrops and LED walls created natural reflections for planetary scenes. The ship was mounted on a hydraulic gimbal, so Ryan Gosling had to physically move through a tilting, shaking environment. The team worked closely with NASA and astronaut Kjell Lindgren to keep things grounded.
#GreigFraser #beatles #batman #thebatman #fyp
#GreigFraser #beatles #batman #thebatman #fyp
Hay imágenes que no solo se ven… se sienten. 🎬✨ El trabajo de @greigfraser_dp ha redefinido cómo luce el cine moderno. Desde la oscuridad elegante de The Batman, hasta la inmensidad de Dune, la ciencia ficción de Project Hail Mary y la épica de Rogue One: A Star Wars Story… cada encuadre tiene intención. Luz, sombra y textura trabajando juntos para contar historias sin necesidad de palabras. Porque cuando la fotografía es así… cada frame es cine puro. #GreigFraser #Cinematography #Cine #EsquireMX
Hay imágenes que no solo se ven… se sienten. 🎬✨ El trabajo de @greigfraser_dp ha redefinido cómo luce el cine moderno. Desde la oscuridad elegante de The Batman, hasta la inmensidad de Dune, la ciencia ficción de Project Hail Mary y la épica de Rogue One: A Star Wars Story… cada encuadre tiene intención. Luz, sombra y textura trabajando juntos para contar historias sin necesidad de palabras. Porque cuando la fotografía es así… cada frame es cine puro. #GreigFraser #Cinematography #Cine #EsquireMX
No need to be humble, @greigfraser_dp! Your masterclass at AACTA Festival was truly unforgettable. This is what AACTA Festival is all about—learning from the best and celebrating the art of filmmaking. #AACTAFestival #GreigFraser
No need to be humble, @greigfraser_dp! Your masterclass at AACTA Festival was truly unforgettable. This is what AACTA Festival is all about—learning from the best and celebrating the art of filmmaking. #AACTAFestival #GreigFraser
We love u greig #projecthailmary #imax #film #ryangosling #greigfraser
We love u greig #projecthailmary #imax #film #ryangosling #greigfraser
This video and post is basically an appreciation letter to Greig Fraser. In Project Hail Mary, IMAX (1.43 or 1.85) is used for the space sequences while widescreen (2.39) is used for the earth sequences. Through the switching of the aspect ratios, we experience memory in such an immersive way. We are learning with Ryland and making that connection back to earth. Greig did absolutely brilliant work on the film. For the memories, you’ll notice these beautiful vertical flares that extend beyond the aspect ratio of the widescreen earth sequences, and into the IMAX space sequences. Another really great idea the editing choice to wait a beat during the aspect ratio switch. You’ll notice, sometimes, you’ll see a switch from the 1.43 IMAX shots to the 2.39 widescreen earth shots, but the IMAX aspect ratio will remain with the Earth scene for a quick shot to really smooth out that transition. Using the “film out” process, the filmmakers were able to print the movie onto actual film stocks, to capture that grain before being brought back to the digital edit. Space (IMAX) and earth (widescreen) have different film grain. Like Spielberg says, it’s truly a “chemical miracle.” All these little details are part of the immersive way into the narrative. The technical services the narrative. If you can, seek out an IMAX 70mm theater. Shout-out to @taylor.umphenour.film, who is the amazing film projectionist at Universal Citywalk; AKA as my favorite cinema in the world. The IMAX 70mm print has Denis Villeneuve’s Dune 3 trailer in 1.43 (with switching ratios to widescreen) and the 6-minute prologue for Christopher Nolan’s The Odyssey (in full 1.43 the entire time), both of which are absolutely astounding. The print looks absolutely gorgeous and stunning. My next trip will be to the Vista for the 70mm experience. It’s always interesting going from the IMAX 70mm (15-perf) to the 70mm (5-perf). Two completely different experiences, in the best way possible. #projecthailmary #greigfraser #phillord #chrismiller #ryangosling
This video and post is basically an appreciation letter to Greig Fraser. In Project Hail Mary, IMAX (1.43 or 1.85) is used for the space sequences while widescreen (2.39) is used for the earth sequences. Through the switching of the aspect ratios, we experience memory in such an immersive way. We are learning with Ryland and making that connection back to earth. Greig did absolutely brilliant work on the film. For the memories, you’ll notice these beautiful vertical flares that extend beyond the aspect ratio of the widescreen earth sequences, and into the IMAX space sequences. Another really great idea the editing choice to wait a beat during the aspect ratio switch. You’ll notice, sometimes, you’ll see a switch from the 1.43 IMAX shots to the 2.39 widescreen earth shots, but the IMAX aspect ratio will remain with the Earth scene for a quick shot to really smooth out that transition. Using the “film out” process, the filmmakers were able to print the movie onto actual film stocks, to capture that grain before being brought back to the digital edit. Space (IMAX) and earth (widescreen) have different film grain. Like Spielberg says, it’s truly a “chemical miracle.” All these little details are part of the immersive way into the narrative. The technical services the narrative. If you can, seek out an IMAX 70mm theater. Shout-out to @taylor.umphenour.film, who is the amazing film projectionist at Universal Citywalk; AKA as my favorite cinema in the world. The IMAX 70mm print has Denis Villeneuve’s Dune 3 trailer in 1.43 (with switching ratios to widescreen) and the 6-minute prologue for Christopher Nolan’s The Odyssey (in full 1.43 the entire time), both of which are absolutely astounding. The print looks absolutely gorgeous and stunning. My next trip will be to the Vista for the 70mm experience. It’s always interesting going from the IMAX 70mm (15-perf) to the 70mm (5-perf). Two completely different experiences, in the best way possible. #projecthailmary #greigfraser #phillord #chrismiller #ryangosling
Project Hail Mary has some of the most beautiful shots in recent cinema — and doesn’t feature a single green screen. The film is being met with critical and commercial acclaim, looking to finish at around $600M at the global box office. Wha are your thoughts? 🤔
Project Hail Mary has some of the most beautiful shots in recent cinema — and doesn’t feature a single green screen. The film is being met with critical and commercial acclaim, looking to finish at around $600M at the global box office. Wha are your thoughts? 🤔
One of the most beautiful scenes in the history of cinema! Cinematographer Greig Fraser pushed visual boundaries on this shoot by stripping the infrared-cut filters off ARRI Alexa 65 cameras to capture light normally invisible to us. This modification created a haunting "red effect," which they leaned into practically by building a chicken wire cage of infrared lights for intimate shots, an effect that was invisible on set but stunning on screen. To keep the atmosphere "grounded" and authentic, Fraser avoided green screens in favor of in-camera effects and "film-out" techniques. It was a massive technical undertaking, requiring a custom rig of old-school tungsten lights in a 70-foot tunnel just to simulate a dark, immersive sunlight that Fraser calls the toughest challenge of his career. 🎥 Project Hail Mary
One of the most beautiful scenes in the history of cinema! Cinematographer Greig Fraser pushed visual boundaries on this shoot by stripping the infrared-cut filters off ARRI Alexa 65 cameras to capture light normally invisible to us. This modification created a haunting "red effect," which they leaned into practically by building a chicken wire cage of infrared lights for intimate shots, an effect that was invisible on set but stunning on screen. To keep the atmosphere "grounded" and authentic, Fraser avoided green screens in favor of in-camera effects and "film-out" techniques. It was a massive technical undertaking, requiring a custom rig of old-school tungsten lights in a 70-foot tunnel just to simulate a dark, immersive sunlight that Fraser calls the toughest challenge of his career. 🎥 Project Hail Mary
O olhar de Greig Fraser já marcou algumas das maiores produções recentes, como Duna, Batman, Rogue One: Uma História Star Wars e Devoradores de Estrelas.- Com um estilo inconfundível, que mistura iluminação dramática e uma imersão quase tátil nas cenas, Fraser transforma cada frame em experiência. Não à toa, levou o Oscar de Melhor Fotografia por Duna, em 2022. E pra você, qual é o take mais inesquecível da filmografia dele? 👇🎥 #GreigFraser #Cinematografia #Cinema #Duna #TheBatman
O olhar de Greig Fraser já marcou algumas das maiores produções recentes, como Duna, Batman, Rogue One: Uma História Star Wars e Devoradores de Estrelas.- Com um estilo inconfundível, que mistura iluminação dramática e uma imersão quase tátil nas cenas, Fraser transforma cada frame em experiência. Não à toa, levou o Oscar de Melhor Fotografia por Duna, em 2022. E pra você, qual é o take mais inesquecível da filmografia dele? 👇🎥 #GreigFraser #Cinematografia #Cinema #Duna #TheBatman
As it was written, @theartofcostumepod welcomes the true Lisan al Gaib to the show 🙏 @dunemovie costume designer Jacqueline West joins the podcast to discuss her research in preparation for the film’s costumes, working with Denis Villeneuve, Lady Jessica’s costume arc, working with Timothée Chalamet as Paul Atreides, and the famous Harkonnen arena scene. He who controls the costumes (or spice) controls the universe. The #DunePartTwo episode of The Art of Costume Podcast is available on Spotify, Apple Podcasts, YouTube, and wherever else you like to listen. ——— #theartofcostume #theartofcostumepodcast #costume #costumedesigner #costumedesign #warnerbros #dune #duneprophecy #gladiator #feydrautha #austinbutler #harkonnen #denisvilleneuve #greigfraser #jacquelinewest
As it was written, @theartofcostumepod welcomes the true Lisan al Gaib to the show 🙏 @dunemovie costume designer Jacqueline West joins the podcast to discuss her research in preparation for the film’s costumes, working with Denis Villeneuve, Lady Jessica’s costume arc, working with Timothée Chalamet as Paul Atreides, and the famous Harkonnen arena scene. He who controls the costumes (or spice) controls the universe. The #DunePartTwo episode of The Art of Costume Podcast is available on Spotify, Apple Podcasts, YouTube, and wherever else you like to listen. ——— #theartofcostume #theartofcostumepodcast #costume #costumedesigner #costumedesign #warnerbros #dune #duneprophecy #gladiator #feydrautha #austinbutler #harkonnen #denisvilleneuve #greigfraser #jacquelinewest
Aussie cinematographer Greig Fraser is up for an Oscar tonight for his work in 'Dune: Part Two'. #greigfraser #cinematographer #aussie #duneparttwo #dune #oscars #academyawards #97thacademyawards #TMS7 – Straight after Sunrise, weekdays on Channel 7 and 7Plus
Aussie cinematographer Greig Fraser is up for an Oscar tonight for his work in 'Dune: Part Two'. #greigfraser #cinematographer #aussie #duneparttwo #dune #oscars #academyawards #97thacademyawards #TMS7 – Straight after Sunrise, weekdays on Channel 7 and 7Plus
This gets nerdy. Loved this conversation. We talk cinematography, physicality and acting craft. This is from my February 2024 conversation with Timothée Chalamet & Austin Butler. #reels #timotheechalamet #austinbutler #duneparttwo #dune #thedarkknight #interstellar #filmmaking #greigfraser #denisvilleneuve
This gets nerdy. Loved this conversation. We talk cinematography, physicality and acting craft. This is from my February 2024 conversation with Timothée Chalamet & Austin Butler. #reels #timotheechalamet #austinbutler #duneparttwo #dune #thedarkknight #interstellar #filmmaking #greigfraser #denisvilleneuve
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