Fraser discussed one of his biggest challenges: How was he going to light the tunnel? “In the past, what people have done to move light is they put a light on a frame and moved it over a window or through something, but we had to have the entire tunnel being hit by the sun.”
“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,” he says. Fraser says he took a lot of inspiration from deep-sea submersible footage where they’re in pitch black, and they’re diving into the darkness, lit purely by the lights from the ship or from a headlamp.
Fraser and his team ended up building lighting rigs using old tungsten lights — a lot of them. “We physically couldn’t get enough LEDs to do that. They’re all old school tungsten lights, and we pixel-mapped them, so it meant that the sun can rotate around in any sort of configuration that we want.”
(https://variety.com/2026/artisans/features/project-hail-mary-cinematogra...)
