Denis Villeneuveof dune The film is visually striking – cinematographer Greg Fraser and production designer Patrice Vermet have Oscars from Dune: Part One.but Dune: Part 2 More daringly, it includes black and white sequences that leave a lingering impact.
speak with diversityFraser explained how the episode came to be – which culminated in a display of the gladiatorial skills of Fede-Lausa (Austin Butler), Baron Harkonnen (Stellan Skarsgård) ) and others on Giddy Prime were watching. The original idea to shoot in black and white came from Villeneuve, who felt that the sandy environment of the fighting arena was too reminiscent of the film’s main Arrakis scenes.Frazier upped the ante, using a modified infrared camera that he had previously used on zero dark thirty and Rogue One: A Star Wars Story “All the cameras can see is infrared, and that becomes their world,” he told industry insiders. “My fascination with infrared began when our eyes couldn’t see [certain things], but the camera can. “
The Giedi Prime sequence also required special work from the costume department (costume designer Jacqueline West, whose first part Oscar-nominated (and had to adjust her approach to make sure all Harkonnen costumes looked the right black in unusual lighting), returning production designer Vermette had to think creatively – citing “Septic Tank” as a surprise inspiration – The planet comes to life when Harkonnen is brought.
Towards variety shows The complete work also explores how Dune: Part 2Editor Joe Walker (another Dune: Part One Oscar winner) worked with Villeneuve to make the fight scenes as thrilling as possible but completely different from “modern sporting events”, especially the way the audience reacted to the scenes.
Dune: Part 2 Now playing in theaters.
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