Dune Part 2 Behind the Scenes — We look at what makes Denis Villeneuve’s newest film so great.

Dune 2 Behind The Scenes ►► [ Ссылка ]
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Chapters:
00:00 - Introduction to Dune Part II
01:04 - Pushing the Dune World Further
01:43 - Chapter 1: Cinematography
07:29 - Chapter 2: Production Design
11:04 - Chapter 3: Special & Visual Effects
15:25 - Takeaways

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DUNE PART 2 EXPLAINED

“Dune” has long been a deadly siren for filmmakers. The scifi classic proved to be a vexing task of adaptation for filmmakers as legendary as David Lynch and Alejandro Jodorowsky. But in 2021, Denis Villeneuve cracked the code to the legendary text. “Dune Part One” was a critical and commercial success, kickstarting a new instantly-beloved franchise.

So it should come as no surprise that hopes were high for the second installment. Few films would be able to live up the expectations “Dune Part Two” was saddled with, but the movie has passed with flying colors. In this video, we look at what went into the “Dune” sequel.

DUNE PART TWO CINEMATOGRAPHY

As with its predecessor, “Dune 2” has impressive cinematography. Director of photography Greg Fraser returned for the sequel, but he didn’t simply run back the same plays from “Part 1.” For “Part 2,” Fraser opted to use more spherical lenses than the anamorphics he used repeatedly throughout “Part 1.” He re-housed old lenses, and detuned them to counter the hyper-sharpness of the Alexa sensors he was shooting on.

Fraser primarily used telescopic lenses for “Dune 2,” hoping that their crushed perspective would add to a feeling of suspicion and suspense. Of course, most notably, Fraser and Villeneuve decided to shoot Giedi Prime in infrared. The bold choice created stark imagery that made the planet feel all the more menacing and alien.

MAKING OF DUNE 2 PRODUCTION DESIGN

A huge element of the “Dune Part Two” visual palette is production design. PD Patrice Vermette pulled inspiration from all over the world to make each setting feel unique and real. Vermette built the look of Arrakis in the deserts of Jordan and the UAE. He wanted to forefront nature, since the Fremen’s relationship with the natural world is vital to the story. For Geidi Prime, Vermette pulled from the brutalist architecture movement.

DUNE VISUAL EFFECTS

“Dune 2” relied on a combination of visual and practical effects. The show-stopping scene where Paul Atreides rides a sandworm is testament to the marriage of these two approaches. The scene took almost forty days to shoot, and Vermette created a massive moving platform to simulate the worm. The end result speaks for itself.

“Dune 2” takes what was working in “Dune 1” and improves upon it. The grand storytelling, the epic vistas, the detailed settings– it’s all here. Denis Villeneuve and his team spared no expense and cut no corners. If our expectations were high for “Dune Part 2,” they’re even higher for “Dune Messiah.” Only time will tell if the director can match them.


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♬ SONGS USED:

"Worm Army" - Hans Zimmer
"Never Lose Me" - Hans Zimmer
"A Battle in the East" - Rhythm Scott
"Eclipse" - Hans Zimmer
"Wall of Fire" - Tony Anderson
"Life's Journey Begins" - idokay
"All Star" - ANBR
"Harkonnen Arena" - Hans Zimmer
"In Love with Emi" - Fabien Fustinoni
"Dojo Tradition (Instrumental)" - In This World
"Retour" - Tony Anderson
"Seduction" - Hans Zimmer
"The Wanderer" - Makeup and Vanity Set
"Lisan al Gaib" - Hans Zimmer
"The Garden" - Makeup and Vanity Set
"Beginnings Are Such Delicate Times" - Hans Zimmer
"Halo" - Tony Anderson
"To Burn" - Man With Roses
"Miserlou" - Dick Dale

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