Deni vov has proven his ability to create immersive worlds and Unforgettable images many times over, but with Dune part two. He pushed himself to new heights, be simple. Nothing, fancy, nothing! fancy. How did V nerve and his team make the film a reality? Maybe I’ll show you the way. This is how they shot it. Dune part two before we take a ride into the film making of Dune, make sure to hit that subscribe button on Studio, binder and ring the bell for notifications. In this episode, we’ll be using Studio, binder shot list to look at some of the technical choices.
The filmmakers made from shot to shot, we will will be spoiling elements of Dune part two now time for our lesson. Now. That’S interesting because in the film books I’ve studied never mind. Please keep going Dune part two is a continuation of Deni V’s adaptation of Frank Herbert seminal sci-fi novel Dune. The first installment released in 2021, was met with critical acclaim and left audiences eagerly, anticipating the next chapter. This is only the beginning for part two vve and his team decided to make even Bolder cinematic choices.
The first component of this tremendous cinematic feat is cinematography. In deciding how to visually articulate the broad scope of part, two cinematographer Greg Fraser began with a question: do we continue with the same format as dune part one? Do we stay with digital, or do we go to film? Do we shoot 16 mm? It’S a bigger world that we’re building in part two. There are more planets more set pieces and more action. Doom part one was shot on the Addie Alexa LF IMAX, and the Ari Alexa mini LF.
Imax Fraser ultimately decided to proceed with the use of alexas. Retaining stylistic consistency with the film’s predecessor, even as the narrative canvas expanded, he explains we decided to keep the fundamental through line of large sensor Alexa cameras, but to combine Alexa 65 with Alexa mini LF and shoot the whole thing spherical in part, one Fraser used the Differences between spherical and animal morphic lenses to separate the worlds of the story, Fraser says in part one. We used anamorphic lenses for a lot of the scenes not based on arums.
The reason for that was because we wanted a simple delineation between Paul’s life before arums and Paul’s life after once, he’s in the desert in part, two we’d moved on from that part of Paul’s Journey, so he decided to only shoot on spherical lenses in collaboration with Ari rental Fraser sifted through the annals of cinematic history to select a distinctive array of lenses. He opted for rehoused 1980s movie cams blending the classic with a modern and rehoused Soviet era, glass from iron glass to inject each frame with texture and character.
The creative process didn’t stop. There Fraser wanted to counterbalance the pristine Clarity offered by the Alexa sensor’s larger formats. He looked to infuse the film’s visuals with a certain rawness and texture that would make the otherworldly Landscapes of Dune feel more tangible. To do this, Fraser explored the bounds of Optics with ar rental’s Kristoff hoffsten tuning and detuning lenses. This involves adjusting the lens’s optical properties to create specific visual effects or characteristics.
This includes modifying physical lenses, elements or Coatings to alter sharpness contrast, color rendition and Boker phaser notes. Texturizing, the image was the name of the game. The larger Alexa sensors are so extraordinary that I felt we needed to dirty the image up a bit. The lenses had a longer focal length which compressed space a telescopic effect, allowed the audience to peer into a scene from a distance. This effect of longer lenses lent itself to the suspenseful tone of part two’s story. Phaser explains those lens choices. Help add to that feeling of suspicion. That feeling is exactly the intent. Do you believe me,
Perhaps the most Innovative technique in the cinematography was Fraser’s use of infrared cinematography during the Gladiator sequence. Our introduction to the ghoulish fade. Rur also gives us an expanded look at giddy. Prime Fraser explains the danger really was that giddy Prime in the daytime was going to look like a Rus, and so then he was like well. Why don’t we do this in black and white nerve explains G Prime? Is a plastic world the artificial World cut from nature, and I thought that this idea of substract color from their world will say something about their way of thinking and and and uh. I came with this idea that the sunlight will be monochromatic black and white, Greg freer, of course, loved the idea, and he brought himself the idea of infrared cameras.
I remembered some techniques that I’ve been using for a few years.
I realized that the camera is actually recording for red, and I said to well listen if we’re. If we’re thinking about black and white, why don’t we consider this technique, and I did a little test and showed him, and he was like that’s it to accomplish this. Fraser and his team embarked on modifying the Alexa cameras, the standard IR filters, which typically block infrared light, were removed in their place. A specialized filter was installed directly in front of the lens. This unique setup allowed the camera to block almost all visible lights and capture.
Only the infrared Spectrum – this Innovative approach was further enhanced through the use of Alexa monochrome cameras which are natively sensitive to the infrared Spectrum, happy birthday Dan. It wasn’t just the masterful use of lenses and infrared technology that brought the Majestic Universe of Dune to life behind every frame, meticulously constructed and thoughtfully designed worlds enveloped us a testament to the film’s production, design under Visionary production, designer Patrice vermes.
The film aimed to decipher and adapt Frank Herbert’s original writing of dun’s world vet explains in the text the words in the book they’re not very descriptive, they’re very broad, but it’s a feeling and obviously I went back to the book and I tried to decipher what The little cues that Frank Berbert would have left that would dis describe the world in in details, these locations, spanned across the globe.
The Stark unforgiving terrain of Arau’s was built primarily in the desolate beauty of Jordan’s Wy room and the sprawling Dunes of Abu Dhabi is about the relationship of human with nature. It is important for me to bring that nature to the screen that the audience will believe it we shot in Abu Dhabi, because what we accomplished there would have been absolutely impossible to do somewhere else. While many scenes were shot on location. Various scenes were shot on.
The sound stages and backlots of a go film studios in Budapest, these included battles on arachis, and the Gladiator scene of giddy, Prime vermes says when designing each facet of dune’s world. He places himself in the position of the architect. This is shown by his influences, specifically in brutalism in the design of Eren. The environment demanded architecture that could withstand extreme conditions.
The building’s thick rock walls and angular imposing forms are Hallmarks of brutalist architecture, serving both a practical purpose and a visual metaphor for the resilience and fortitude of the planet’s inhabitants. Do not usually Venture this deep. I want to make sure no tradies escaped. You think too much of yourself. No, no, we are in the Deep desert. Only fman can survive here. They were here for us not for you for giddy, Prime brutalism also inspired the design to reflect the Henin’s, militaristic and oppressive nature. However, vermes also Drew inspiration from an unexpected Source septic tank encountered in Montreal.
Vert’s exploration of brutalist architecture also found resonance at the Bon Cemetery in Italy, designed by Carlos Scarpa vermes notes. Carlos Scara is a huge inspiration, not only for Dune, but for me personally, we were looking for a site for the Imperial planet and for a garden I showed Deni images, and he said this is exactly the language of our film, which of course, it was because My inspiration for the film was Scara verset meticulously crafted every design element to Res with the rich history and culture embedded within the narrative. These worlds were further augmented by the film’s approach to special and visual effects.
As a film of monumental scale, special and visual effects played an integral role in bringing Doom to life. Part two pushed the boundaries of its visuals through its ambitious innovation in Practical effects. One of the standout scenes of the film is Paul atres riding a sandworm. The scene itself would require a completely separate unit, shooting for nearly 40 days as Paul leaps to catch the sandworm. He falls down a river of sand to achieve this, practically the stunt team orchestrated the collapse of an actual Sand Dune with a specially made rig. This involved an entire Dune built on top of three giant cylinders.
Each was hooked up to separate trucks that could pull the cylinders at precise times, and the idea was to have at the perfect timing. We had to pull those tube under the sandune in order to the sandun to collapse. The nerve wanted to make Paul’s struggle to ride the sandworm as realistic as possible. He collaborated with production designer Patrice vermes and special effects. Coordinator ger nerd, to engineer a practical solution. I asked my uh production designer to create a gigantic planform uh reproduction. We try to build the biggest platform possible with the sandworm skin. This platform will be on a gimble.
It’s a machine that allow us to move the platform in uh one way or the other. The platform can modulate like that at different speed. The level of commitment to practical effects LED vies and his team to create one of the most memorable scenes in modern Cinema and that scene surfing the sand worms is one of the greatest things I have ever seen ever. While vie was committed to utilizing practical elements, whenever possible, visual effects, supervisor Paul Lambert was equally committed to ensuring the VFX was also grounded in reality, with the help of VFX Studio, double negative Lambert and his team sought to breathe life into the vast, arid Landscapes of Arau’s to do this, they employed a VFX technique also used in Dune part.
One sand screens sand screen is a pioneering approach that deviated from the traditional Reliance on blue screens or green screens, where unwanted Hues can reflect onto subjects and the set sand screens are VFX screens with a carefully chosen sand, color to bounce light. Realistically, because the sand color was not, as distinct as the usual blue or green, the team formulated a sand color Hue that once inverted effectively separated subjects from the background similar IL to traditional screens.
This solution allowed the visual effects team to integrate the live action footage with digital elements in a way that preserved the Integrity of the scene. Lambert found further ways to advance the VFX in the film most, notably with the Fran’s blue eyes, leveraging insights from the first film’s eye effects. The VFX team developed a machine learning model trained on Doom footage to precisely identify and segment human eyes. This model facilitated the use of a multi-part mat technique to achieve the iconic Blueeye effect, even when V nerve couldn’t keep the special effects.
Practical every component of VFX and CGI was grounded in the reality of the world of Dune Deni and his team swung for the fences with bold dis decisions in every aspect of the film from Innovative cinematography techniques to expensive. Yet detailed production, design and jawdropping special effects. Groundbreaking film making cannot be achieved without thorough preparation once the screenplay is done.
I will storyboard most the of the movie of if not the entire movie and it’s a new way to rewrite and to approach bring the word closer to the to the camera, and I then once the storyboard I finished, I rewrite the screenplay again from the Story boards, because there’s a lot of changes that will be found through the storyboards on your next project, prep every aspect of your film using Studio, binder library of film making software, which can help with everything from short listing to scheduling click.
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