Pål Ulvik Rokseth: forging the fiery world of The Lost Bus

The Cinematography Podcast Episode 330: Pål Ulvik Rokseth

Pål Ulvik Rokseth, the Norwegian cinematographer behind director Paul Greengrass‘s gripping drama The Lost Bus, faced a singular challenge: how to transform one of the deadliest wildfires in California history into a visceral, cinematic character. The film dramatizes the true story of bus driver Kevin McKay and schoolteacher Mary Ludwig. The two heroically navigated 22 schoolchildren to safety during the devastating 2018 Camp Fire in Paradise, California.

The partnership between Pål and Greengrass began on another harrowing true-life drama, 22 July, about a deadly terror attack on a summer camp in Norway. Greengrass asked Pål if he’d be interested in working in the United States on The Lost Bus. Just a few weeks later, Pål was prepping in New Mexico, eager to tackle the director’s signature action-packed, docu-style storytelling.

Pål’s vision was to give the fire a palpable presence. “Paul wanted this fire to be a character,” he explains. “It has its own cinematic tool as a character that evolves through the story and then gets closer to our characters.” The cinematographer expertly captured the increasingly darkening skies, the ominous amber light, and the raw terror as the fire’s destructive force grew. To achieve this visceral power, Pål worked closely with visual effects supervisor Charlie Noble, melding the practical and digital inferno into something that felt immediate and real.

When he first read the script, Pål was uncertain how they were going to shoot the story on a bus with 22 kids surrounded by fire. His solution was an artful manipulation of natural and artificial light. To depict the moment the smoke enveloped the town, the crew shot exterior scenes at dusk, cleverly capturing a darkness that felt both realistic and unsettling.

Real wildfires produce a distinct, saturated amber and reddish light. Pål reproduced this effect using 5k tungsten Skypans to illuminate the environment. The crew didn’t shy away from practical effects either, using piped-in propane gas and smoke machines to simulate the omnipresent threat of the blaze. They built controllable, flammable sections of buildings, like the school set, and even an on-set “forest” that could be intentionally lit to capture the immediate impact of the fire. The entire set—including the re-created hills and forest—was constructed on a backlot in New Mexico, with only a few exterior scenes shot near Santa Fe in Ruidoso, where the natural mountains and trees provided authentic backdrops for the bus’s journey. Adding to the realism, actor Matthew McConaughey often personally drove the bus when a stunt driver wasn’t required.

Pål’s preparation initially included plans to use a volume stage to generate realistic fire backgrounds, but Greengrass quickly decided he preferred the grounded look of shooting on the backlot. This forced a pivot. While they abandoned the volume stage, Pål did shoot certain sequences on a stage with the bus mounted on a gimbal against a bluescreen for fire visual effects.

Greengrass always prefers a realistic, documentary style, and most of the cinematography was handheld. Pål himself often operated one of the cameras, choosing the ARRI Alexa 35 paired with Canon Super 16 lenses. This combination was selected specifically for its ability to capture the complex depth and color palette of fire.

For Pål, shooting documentary style is both the biggest challenge and the best reward. He enjoys being able to pre-light and shotlist, but he had to embrace the non-precision of Greengrass’s style. “I tend to like to be on a dolly and frame up and light it, and it’s very comfortable,” he notes. “But with this way of doing it, you have to just follow the characters in their environment and then suddenly you find yourself being in this close-up, and it looks beautiful. I think it’s very liberating to tell the story with the camera dynamically.”

Find Pal Rokseth: Instagram: @palulvikrokseth

See The Lost Bus on AppleTV.

Hear our previous interview with director Ron Howard and DP Lincoln Else. Their documentary, Rebuilding Paradise is about the town of Paradise rebuilding after the Camp Fire.

CAMERAS: Alexa 35, in Super 16 format

LENSES: Canon 8-64mm zooms

Close focus: The scarcity of theaters- only four in the world- showing the Vista Vision format is only one of the factors that will limit its popularity as a format.

Ben’s short end: Nomad Sculpt, an app that’s great for special effects work on a tablet.

Illya’s short end: The Black List has started a new initiative called The Bay List to identify and highlight ten exceptional screenplays and pilots by writers from or with close ties to the Bay Area.

Pål Ulvik Rokseth: forging the fiery world of The Lost Bus

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