For this fast-paced, run-and-gun one-day shoot, I served as DP and operated one of the Sony Buranos alongside two additional camera operators as we captured directors Chris Miller and Phil Lord walking audiences through the many incredible theatrical formats that Project Hail Mary was released in. We hit theaters all across Los Angeles, loading and unloading our entire kit in and out of a Sprinter van between locations, staying as nimble and efficient as possible to keep pace with the day.

The three-camera setup was key to maximizing coverage on such a relentless schedule: two Sony Buranos, one of which I operated, and a Sony FX6 on a gimbal for fluid, dynamic movement. Together, they gave us the flexibility to capture everything quickly without sacrificing quality.

The real cinematography challenge was the theaters themselves. Most of them were just dark boxes with no practical light to work with. To bring them to life, I placed an Aperture 80C on a light stand, using its TV effect mode to simulate the warm flicker of a movie projector and pull the environment into the story we were telling. A spotlight gave the talent a clean edge, and a dedicated key light rounded out the setup. Every fixture had to be battery-powered and deployable in minutes, so the lighting had to be intentional and fast in equal measure.

CREDITS

Production Company | Aramada Projects

Director | Jon Cruz

Producer | Andrew Sandler

DP | Michael Gauthier

Camera Operator | Dylan Burzinski

Camera Operator | Tanner Field

Gaffer | Jesse Jaraczewski

Best Boy Electric | John Fisher