Behind the Scenes | How Were the Epic Shots in Project Hail Mary Filmed?

With a Rotten Tomatoes score of 96% and an IMDb rating of 8.7, it is being hailed by global media as the "first sci-fi masterpiece of 2026." Recently, the new film Project Hail Mary, starring Ryan Gosling, achieved both critical and commercial success. International press has dubbed it "the best space epic of the decade" and "the best sci-fi film since Interstellar."

 

Its cinematography has also been highly praised by critics as "the new benchmark for sci-fi cinematography." It uses optical language to enhance the feeling of weightlessness and immersion, combining practical LED volumes and physical sets to achieve an incredibly realistic space texture.

 

If you happen to have seen the movie, you were likely struck by the vertical blue lens flares streaking across the screen. This article will reveal exactly how this unique flare effect was created.

A Classic Cinematic Moment, 
Brought to Life by EPIC

01

Viltrox 
EPIC Series 1.33X

From the epic, gritty textures of the Dune series to the shifting shadows of The Batman, Project Hail Mary's Director of Photography, Greig Fraser — a visual master who has crafted countless classic looks—has always excelled at unconventional lens usage. He has frequently utilized modified and rotated anamorphic lenses to achieve distinct optical effects.

 

As early as 2024, he publicly expressed his admiration for the Viltrox Cine product line and the EPIC lens series, planting the seed for this future collaboration.

The vertical blue streaks in the space scenes of Project Hail Mary were achieved by mounting the Viltrox EPIC series 1.33x anamorphic lenses rotated at 90 degrees. This setup perfectly achieved the technical goal of vertically de-squeezing the 1.33x image to fit the IMAX 1.43:1 aspect ratio.

 

The primary camera used for the film's space scenes was the IMAX-certified ARRI Alexa 65 digital cinema camera. Its native A3X CMOS large-format sensor boasts an active imaging area of 54.12mm x 25.58mm, with a native Open Gate aspect ratio of 2.11:1.

During production, by mounting the Viltrox EPIC series 1.33x anamorphic lens rotated at 90 degrees, the image was vertically squeezed by 1.33x onto the ARRI Alexa 65 sensor. After a vertical de-squeeze, the native 2.11:1 aspect ratio transformed into approximately 1.59:1, a ratio that closely replicates the immersive, tall framing of IMAX.

In post-production, cropping the image from 1.59:1 to 1.43:1 yields a final aspect ratio closely matching IMAX GT and 70mm film. Consequently, the native horizontal streak flares of the anamorphic lens were transformed into the highly distinctive vertical blue streaks seen throughout Project Hail Mary.

By altering the framing structure through lens rotation and utilizing precise post-production extraction, this shooting method perfectly aligns with the native aspect ratio of IMAX GT theaters. When these space scenes unfold across the massive IMAX screen, audiences feel as though they are truly immersed in the vastness of the galaxy.

Visual Language 
Deeply Tied to Space Narrative

02

Viltrox 
EPIC Series 1.33X

Standard IMAX 1.43:1 full-frame shooting almost exclusively uses spherical lenses, which cannot capture the unique flares, bokeh, and vintage cinematic texture inherent to anamorphic lenses. Conversely, the standard horizontal squeeze of anamorphic lenses only suits widescreen formats and cannot accommodate the taller 1.43:1 IMAX aspect ratio.

 

The 90-degree rotation technique both preserved the optical characteristics of the Viltrox EPIC 1.33x anamorphic lenses and perfectly adapted to the IMAX aspect ratio.

The vertical streak flares perfectly enhance the vertical depth of the space scenes, aligning flawlessly with the circular structure inside the spacecraft and the boundless, up-and-down nature of the universe. The towering 1.43:1 aspect ratio maximizes the contrast between the "vastness of the universe and the smallness of the characters," complementing the zero-gravity rotational camera movements.

This shooting method maximizes the use of the ARRI Alexa 65's large sensor, retaining ultimate image quality. Compared to the conventional method of "shooting 4:3 and cropping for widescreen," rotating the lens fully utilizes the sensor's width. After de-squeezing the 6.5K native resolution, the image retains detail far exceeding 4K. Even when projected on a giant IMAX screen, the sharpness, depth, and lighting nuances remain crystal clear.

 

Additionally, some scenes in the film were shot using the ARRI Alexa 65 paired with the Viltrox LUNA 42-420mm T5.6 ZOOM 10X LPL lens, expanding the possibilities of the film's visual language even further.

The "seed" planted by Greig Fraser two years ago has blossomed beautifully within the cinematic universe of Project Hail Mary.

 

As those highly recognizable blue streaks cascade down the screen like falling stars, blending seamlessly with the vast space scenes on the giant screen, we believe that Viltrox is participating in and witnessing the birth of a sci-fi masterpiece.

 

As we immerse ourselves in the cosmic vastness and human warmth of Project Hail Mary, we are also witnessing the stunning debut of a Chinese optics brand on the world's top film industry stage.

 

From Greig Fraser's unconventional creative vision to the practical optical application of the Viltrox EPIC 1.33x anamorphic lenses, this vertical blue light piercing the IMAX screen represents a mutual convergence of cinematic art and optical technology. It is also a testament to Viltrox's deep expertise in the professional cinema lens field.

 

For filmmakers, the best optical tools are never just a cold accumulation of technical specs; they are brushes of light and shadow that perfectly convey creative intent.

 

With his ingenious idea of a 90-degree rotation, Greig Fraser solved an industry pain point: the inability to simultaneously achieve the immersive feel of full-frame IMAX and the cinematic look of anamorphic lenses. Meanwhile, the Viltrox EPIC 1.33x anamorphic lenses, with their zero focus breathing, constant squeeze ratio, and ultra-stable optical performance, allowed this wildly imaginative concept to be perfectly realized.

 

Many are saying that Project Hail Mary is the gentlest love letter written to the universe in 2026.

 

And those vertical blue flares streaking across the screen are the most unique footnotes in this letter—stemming from the boundless imagination of an Oscar-winning Director of Photography, while harboring the optical craftsmanship of Viltrox's EPIC lenses.

 

From top-tier Hollywood sci-fi blockbusters to the niche expressions of individual creators, Viltrox has always believed: technology ultimately serves creation, and good optical tools should unlock infinite possibilities for every creative vision.

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