Very like the Baron and his mission to beat Arrakis, with “Dune” and “Dune: Half Two,” Denis Villeneuve discovered himself confronted with a very gargantuan process. Fortunately, he had his personal trusted foot troopers who might assist him convey his epic imaginative and prescient to life. One of the necessary was cinematographer Greig Fraser, who actually pushed the bounds of what a DP is required to do on a film like this.
Fraser joined Villeneuve and manufacturing designer Patrice Vermette in planning scenes all the way down to the best element. Whereas Vermette was bottling sand from numerous locations within the deserts of Abu Dhabi and Jordan, Fraser was, as famous within the e book “The Artwork and Soul of Dune: Half Two,” utilizing “3D Unreal Engine software program, photogrammetry, drones, and floor lidar scanning” to pre-visualize each shot of the movie and plan the right time of day to shoot in sure areas. Capturing an actual eclipse within the Jordanian desert was about the one factor that seemingly occurred by probability; every thing else was meticulously laid out beforehand.
The Enviornment battle was no completely different. Set on the Harkonnen homeworld of Giedi Prime, the conflict takes place within the open air beneath a black solar. It is the primary time audiences see the outside of Giedi Prime, and as a way to depict what’s described in Frank Herbert’s novel as a monochromatic atmosphere, Fraser determined to shoot the entire thing in black and white. However this wasn’t so simple as desaturating the footage in submit. No, to create the ominous, otherworldly monochrome of the world battle, Fraser determined to shoot in infrared.