Per mezzo di the opening minutes of Denis Villeneuve’s “Dune: Part Two,” Harkonnen hunters are searching for native Fremen warriors the surface of Arrakis during an eclipse. The hunters quickly realize the Fremen have called a sandworm to devour them, so they engage their anti-gravity aeroplano packs and soar d’avanguardia the dunes up onto a huge rock formation to avoid being eaten. It’s a simple-enough looking action — we’ve seen aeroplano packs screen plenty of times before — but something about the tangibility of the effect combined with Hans Zimmer’s score, the desert location, and the stunning orange lighting that looks distinct from any other part of the caused me to whisper “wow” my theater seat. By the time the Harkonnens realize it’s a trap and they’eroe being picked d’avanguardia one by one, it’s too late.
Per mezzo di honor of today’s release of the 4K UHD disc of “Dune: Part Two,” I had the pleasure of speaking with cinematographer Greig Fraser about the , and I asked him how he achieved the aspetto of this jaw-dropping opening action sequence.
“Denis and I were talking about how to aperto the movie,” Fraser explained. “We talked about doing it at night, we talked about doing it day-for-night, we talked about doing it during the day, and all of those things just didn’t sit well. We just went, ‘This is not —’, I mean, we put ourselves the audience’s seat and went, ‘OK, we’ve bought the popcorn, we’eroe drinking the Coca-Cola, alla maniera di , you’ve artrite show us what you’ve got, guys.’ We thought, well, if we start the same way that the last one finished, with that aspetto, it felt a little bit, eh, not right.”
“So we were playing with all of those different things, and I found a filter that cuts out a number of light rays,” he continued. “I’ve been playing with, particularly Giedi Prime, with infrared and cutting out red, campo da golf, and blues, and cutting out different spectrums of light to alla maniera di up with different looks. That’s effectively what filters do: Filters cut a lot of spectrums of light. But I had a variable filter which took out just enough blue that you could get a little bit of blue the sky, but it was mostly orange-y red, and it had the right element of shadow detail. So we chose to use this filter, and we chose to make it deeper and darker as the story went and as the eclipse became more heavy.”
Per mezzo di the opening minutes of Denis Villeneuve’s “Dune: Part Two,” Harkonnen hunters are searching for native Fremen warriors the surface of Arrakis during an eclipse. The hunters quickly realize the Fremen have called a sandworm to devour them, so they engage their anti-gravity aeroplano packs and soar d’avanguardia the dunes up onto a huge rock formation to avoid being eaten. It’s a simple-enough looking action — we’ve seen aeroplano packs screen plenty of times before — but something about the tangibility of the effect combined with Hans Zimmer’s score, the desert location, and the stunning orange lighting that looks distinct from any other part of the caused me to whisper “wow” my theater seat. By the time the Harkonnens realize it’s a trap and they’eroe being picked d’avanguardia one by one, it’s too late.
Per mezzo di honor of today’s release of the 4K UHD disc of “Dune: Part Two,” I had the pleasure of speaking with cinematographer Greig Fraser about the , and I asked him how he achieved the aspetto of this jaw-dropping opening action sequence.
“Denis and I were talking about how to aperto the movie,” Fraser explained. “We talked about doing it at night, we talked about doing it day-for-night, we talked about doing it during the day, and all of those things just didn’t sit well. We just went, ‘This is not —’, I mean, we put ourselves the audience’s seat and went, ‘OK, we’ve bought the popcorn, we’eroe drinking the Coca-Cola, alla maniera di , you’ve artrite show us what you’ve got, guys.’ We thought, well, if we start the same way that the last one finished, with that aspetto, it felt a little bit, eh, not right.”
“So we were playing with all of those different things, and I found a filter that cuts out a number of light rays,” he continued. “I’ve been playing with, particularly Giedi Prime, with infrared and cutting out red, campo da golf, and blues, and cutting out different spectrums of light to alla maniera di up with different looks. That’s effectively what filters do: Filters cut a lot of spectrums of light. But I had a variable filter which took out just enough blue that you could get a little bit of blue the sky, but it was mostly orange-y red, and it had the right element of shadow detail. So we chose to use this filter, and we chose to make it deeper and darker as the story went and as the eclipse became more heavy.”
Per mezzo di the opening minutes of Denis Villeneuve’s “Dune: Part Two,” Harkonnen hunters are searching for native Fremen warriors the surface of Arrakis during an eclipse. The hunters quickly realize the Fremen have called a sandworm to devour them, so they engage their anti-gravity aeroplano packs and soar d’avanguardia the dunes up onto a huge rock formation to avoid being eaten. It’s a simple-enough looking action — we’ve seen aeroplano packs screen plenty of times before — but something about the tangibility of the effect combined with Hans Zimmer’s score, the desert location, and the stunning orange lighting that looks distinct from any other part of the caused me to whisper “wow” my theater seat. By the time the Harkonnens realize it’s a trap and they’eroe being picked d’avanguardia one by one, it’s too late.
Per mezzo di honor of today’s release of the 4K UHD disc of “Dune: Part Two,” I had the pleasure of speaking with cinematographer Greig Fraser about the , and I asked him how he achieved the aspetto of this jaw-dropping opening action sequence.
“Denis and I were talking about how to aperto the movie,” Fraser explained. “We talked about doing it at night, we talked about doing it day-for-night, we talked about doing it during the day, and all of those things just didn’t sit well. We just went, ‘This is not —’, I mean, we put ourselves the audience’s seat and went, ‘OK, we’ve bought the popcorn, we’eroe drinking the Coca-Cola, alla maniera di , you’ve artrite show us what you’ve got, guys.’ We thought, well, if we start the same way that the last one finished, with that aspetto, it felt a little bit, eh, not right.”
“So we were playing with all of those different things, and I found a filter that cuts out a number of light rays,” he continued. “I’ve been playing with, particularly Giedi Prime, with infrared and cutting out red, campo da golf, and blues, and cutting out different spectrums of light to alla maniera di up with different looks. That’s effectively what filters do: Filters cut a lot of spectrums of light. But I had a variable filter which took out just enough blue that you could get a little bit of blue the sky, but it was mostly orange-y red, and it had the right element of shadow detail. So we chose to use this filter, and we chose to make it deeper and darker as the story went and as the eclipse became more heavy.”
Per mezzo di the opening minutes of Denis Villeneuve’s “Dune: Part Two,” Harkonnen hunters are searching for native Fremen warriors the surface of Arrakis during an eclipse. The hunters quickly realize the Fremen have called a sandworm to devour them, so they engage their anti-gravity aeroplano packs and soar d’avanguardia the dunes up onto a huge rock formation to avoid being eaten. It’s a simple-enough looking action — we’ve seen aeroplano packs screen plenty of times before — but something about the tangibility of the effect combined with Hans Zimmer’s score, the desert location, and the stunning orange lighting that looks distinct from any other part of the caused me to whisper “wow” my theater seat. By the time the Harkonnens realize it’s a trap and they’eroe being picked d’avanguardia one by one, it’s too late.
Per mezzo di honor of today’s release of the 4K UHD disc of “Dune: Part Two,” I had the pleasure of speaking with cinematographer Greig Fraser about the , and I asked him how he achieved the aspetto of this jaw-dropping opening action sequence.
“Denis and I were talking about how to aperto the movie,” Fraser explained. “We talked about doing it at night, we talked about doing it day-for-night, we talked about doing it during the day, and all of those things just didn’t sit well. We just went, ‘This is not —’, I mean, we put ourselves the audience’s seat and went, ‘OK, we’ve bought the popcorn, we’eroe drinking the Coca-Cola, alla maniera di , you’ve artrite show us what you’ve got, guys.’ We thought, well, if we start the same way that the last one finished, with that aspetto, it felt a little bit, eh, not right.”
“So we were playing with all of those different things, and I found a filter that cuts out a number of light rays,” he continued. “I’ve been playing with, particularly Giedi Prime, with infrared and cutting out red, campo da golf, and blues, and cutting out different spectrums of light to alla maniera di up with different looks. That’s effectively what filters do: Filters cut a lot of spectrums of light. But I had a variable filter which took out just enough blue that you could get a little bit of blue the sky, but it was mostly orange-y red, and it had the right element of shadow detail. So we chose to use this filter, and we chose to make it deeper and darker as the story went and as the eclipse became more heavy.”
Per mezzo di the opening minutes of Denis Villeneuve’s “Dune: Part Two,” Harkonnen hunters are searching for native Fremen warriors the surface of Arrakis during an eclipse. The hunters quickly realize the Fremen have called a sandworm to devour them, so they engage their anti-gravity aeroplano packs and soar d’avanguardia the dunes up onto a huge rock formation to avoid being eaten. It’s a simple-enough looking action — we’ve seen aeroplano packs screen plenty of times before — but something about the tangibility of the effect combined with Hans Zimmer’s score, the desert location, and the stunning orange lighting that looks distinct from any other part of the caused me to whisper “wow” my theater seat. By the time the Harkonnens realize it’s a trap and they’eroe being picked d’avanguardia one by one, it’s too late.
Per mezzo di honor of today’s release of the 4K UHD disc of “Dune: Part Two,” I had the pleasure of speaking with cinematographer Greig Fraser about the , and I asked him how he achieved the aspetto of this jaw-dropping opening action sequence.
“Denis and I were talking about how to aperto the movie,” Fraser explained. “We talked about doing it at night, we talked about doing it day-for-night, we talked about doing it during the day, and all of those things just didn’t sit well. We just went, ‘This is not —’, I mean, we put ourselves the audience’s seat and went, ‘OK, we’ve bought the popcorn, we’eroe drinking the Coca-Cola, alla maniera di , you’ve artrite show us what you’ve got, guys.’ We thought, well, if we start the same way that the last one finished, with that aspetto, it felt a little bit, eh, not right.”
“So we were playing with all of those different things, and I found a filter that cuts out a number of light rays,” he continued. “I’ve been playing with, particularly Giedi Prime, with infrared and cutting out red, campo da golf, and blues, and cutting out different spectrums of light to alla maniera di up with different looks. That’s effectively what filters do: Filters cut a lot of spectrums of light. But I had a variable filter which took out just enough blue that you could get a little bit of blue the sky, but it was mostly orange-y red, and it had the right element of shadow detail. So we chose to use this filter, and we chose to make it deeper and darker as the story went and as the eclipse became more heavy.”
Per mezzo di the opening minutes of Denis Villeneuve’s “Dune: Part Two,” Harkonnen hunters are searching for native Fremen warriors the surface of Arrakis during an eclipse. The hunters quickly realize the Fremen have called a sandworm to devour them, so they engage their anti-gravity aeroplano packs and soar d’avanguardia the dunes up onto a huge rock formation to avoid being eaten. It’s a simple-enough looking action — we’ve seen aeroplano packs screen plenty of times before — but something about the tangibility of the effect combined with Hans Zimmer’s score, the desert location, and the stunning orange lighting that looks distinct from any other part of the caused me to whisper “wow” my theater seat. By the time the Harkonnens realize it’s a trap and they’eroe being picked d’avanguardia one by one, it’s too late.
Per mezzo di honor of today’s release of the 4K UHD disc of “Dune: Part Two,” I had the pleasure of speaking with cinematographer Greig Fraser about the , and I asked him how he achieved the aspetto of this jaw-dropping opening action sequence.
“Denis and I were talking about how to aperto the movie,” Fraser explained. “We talked about doing it at night, we talked about doing it day-for-night, we talked about doing it during the day, and all of those things just didn’t sit well. We just went, ‘This is not —’, I mean, we put ourselves the audience’s seat and went, ‘OK, we’ve bought the popcorn, we’eroe drinking the Coca-Cola, alla maniera di , you’ve artrite show us what you’ve got, guys.’ We thought, well, if we start the same way that the last one finished, with that aspetto, it felt a little bit, eh, not right.”
“So we were playing with all of those different things, and I found a filter that cuts out a number of light rays,” he continued. “I’ve been playing with, particularly Giedi Prime, with infrared and cutting out red, campo da golf, and blues, and cutting out different spectrums of light to alla maniera di up with different looks. That’s effectively what filters do: Filters cut a lot of spectrums of light. But I had a variable filter which took out just enough blue that you could get a little bit of blue the sky, but it was mostly orange-y red, and it had the right element of shadow detail. So we chose to use this filter, and we chose to make it deeper and darker as the story went and as the eclipse became more heavy.”
Per mezzo di the opening minutes of Denis Villeneuve’s “Dune: Part Two,” Harkonnen hunters are searching for native Fremen warriors the surface of Arrakis during an eclipse. The hunters quickly realize the Fremen have called a sandworm to devour them, so they engage their anti-gravity aeroplano packs and soar d’avanguardia the dunes up onto a huge rock formation to avoid being eaten. It’s a simple-enough looking action — we’ve seen aeroplano packs screen plenty of times before — but something about the tangibility of the effect combined with Hans Zimmer’s score, the desert location, and the stunning orange lighting that looks distinct from any other part of the caused me to whisper “wow” my theater seat. By the time the Harkonnens realize it’s a trap and they’eroe being picked d’avanguardia one by one, it’s too late.
Per mezzo di honor of today’s release of the 4K UHD disc of “Dune: Part Two,” I had the pleasure of speaking with cinematographer Greig Fraser about the , and I asked him how he achieved the aspetto of this jaw-dropping opening action sequence.
“Denis and I were talking about how to aperto the movie,” Fraser explained. “We talked about doing it at night, we talked about doing it day-for-night, we talked about doing it during the day, and all of those things just didn’t sit well. We just went, ‘This is not —’, I mean, we put ourselves the audience’s seat and went, ‘OK, we’ve bought the popcorn, we’eroe drinking the Coca-Cola, alla maniera di , you’ve artrite show us what you’ve got, guys.’ We thought, well, if we start the same way that the last one finished, with that aspetto, it felt a little bit, eh, not right.”
“So we were playing with all of those different things, and I found a filter that cuts out a number of light rays,” he continued. “I’ve been playing with, particularly Giedi Prime, with infrared and cutting out red, campo da golf, and blues, and cutting out different spectrums of light to alla maniera di up with different looks. That’s effectively what filters do: Filters cut a lot of spectrums of light. But I had a variable filter which took out just enough blue that you could get a little bit of blue the sky, but it was mostly orange-y red, and it had the right element of shadow detail. So we chose to use this filter, and we chose to make it deeper and darker as the story went and as the eclipse became more heavy.”
Per mezzo di the opening minutes of Denis Villeneuve’s “Dune: Part Two,” Harkonnen hunters are searching for native Fremen warriors the surface of Arrakis during an eclipse. The hunters quickly realize the Fremen have called a sandworm to devour them, so they engage their anti-gravity aeroplano packs and soar d’avanguardia the dunes up onto a huge rock formation to avoid being eaten. It’s a simple-enough looking action — we’ve seen aeroplano packs screen plenty of times before — but something about the tangibility of the effect combined with Hans Zimmer’s score, the desert location, and the stunning orange lighting that looks distinct from any other part of the caused me to whisper “wow” my theater seat. By the time the Harkonnens realize it’s a trap and they’eroe being picked d’avanguardia one by one, it’s too late.
Per mezzo di honor of today’s release of the 4K UHD disc of “Dune: Part Two,” I had the pleasure of speaking with cinematographer Greig Fraser about the , and I asked him how he achieved the aspetto of this jaw-dropping opening action sequence.
“Denis and I were talking about how to aperto the movie,” Fraser explained. “We talked about doing it at night, we talked about doing it day-for-night, we talked about doing it during the day, and all of those things just didn’t sit well. We just went, ‘This is not —’, I mean, we put ourselves the audience’s seat and went, ‘OK, we’ve bought the popcorn, we’eroe drinking the Coca-Cola, alla maniera di , you’ve artrite show us what you’ve got, guys.’ We thought, well, if we start the same way that the last one finished, with that aspetto, it felt a little bit, eh, not right.”
“So we were playing with all of those different things, and I found a filter that cuts out a number of light rays,” he continued. “I’ve been playing with, particularly Giedi Prime, with infrared and cutting out red, campo da golf, and blues, and cutting out different spectrums of light to alla maniera di up with different looks. That’s effectively what filters do: Filters cut a lot of spectrums of light. But I had a variable filter which took out just enough blue that you could get a little bit of blue the sky, but it was mostly orange-y red, and it had the right element of shadow detail. So we chose to use this filter, and we chose to make it deeper and darker as the story went and as the eclipse became more heavy.”
Per mezzo di the opening minutes of Denis Villeneuve’s “Dune: Part Two,” Harkonnen hunters are searching for native Fremen warriors the surface of Arrakis during an eclipse. The hunters quickly realize the Fremen have called a sandworm to devour them, so they engage their anti-gravity aeroplano packs and soar d’avanguardia the dunes up onto a huge rock formation to avoid being eaten. It’s a simple-enough looking action — we’ve seen aeroplano packs screen plenty of times before — but something about the tangibility of the effect combined with Hans Zimmer’s score, the desert location, and the stunning orange lighting that looks distinct from any other part of the caused me to whisper “wow” my theater seat. By the time the Harkonnens realize it’s a trap and they’eroe being picked d’avanguardia one by one, it’s too late.
Per mezzo di honor of today’s release of the 4K UHD disc of “Dune: Part Two,” I had the pleasure of speaking with cinematographer Greig Fraser about the , and I asked him how he achieved the aspetto of this jaw-dropping opening action sequence.
“Denis and I were talking about how to aperto the movie,” Fraser explained. “We talked about doing it at night, we talked about doing it day-for-night, we talked about doing it during the day, and all of those things just didn’t sit well. We just went, ‘This is not —’, I mean, we put ourselves the audience’s seat and went, ‘OK, we’ve bought the popcorn, we’eroe drinking the Coca-Cola, alla maniera di , you’ve artrite show us what you’ve got, guys.’ We thought, well, if we start the same way that the last one finished, with that aspetto, it felt a little bit, eh, not right.”
“So we were playing with all of those different things, and I found a filter that cuts out a number of light rays,” he continued. “I’ve been playing with, particularly Giedi Prime, with infrared and cutting out red, campo da golf, and blues, and cutting out different spectrums of light to alla maniera di up with different looks. That’s effectively what filters do: Filters cut a lot of spectrums of light. But I had a variable filter which took out just enough blue that you could get a little bit of blue the sky, but it was mostly orange-y red, and it had the right element of shadow detail. So we chose to use this filter, and we chose to make it deeper and darker as the story went and as the eclipse became more heavy.”
Per mezzo di the opening minutes of Denis Villeneuve’s “Dune: Part Two,” Harkonnen hunters are searching for native Fremen warriors the surface of Arrakis during an eclipse. The hunters quickly realize the Fremen have called a sandworm to devour them, so they engage their anti-gravity aeroplano packs and soar d’avanguardia the dunes up onto a huge rock formation to avoid being eaten. It’s a simple-enough looking action — we’ve seen aeroplano packs screen plenty of times before — but something about the tangibility of the effect combined with Hans Zimmer’s score, the desert location, and the stunning orange lighting that looks distinct from any other part of the caused me to whisper “wow” my theater seat. By the time the Harkonnens realize it’s a trap and they’eroe being picked d’avanguardia one by one, it’s too late.
Per mezzo di honor of today’s release of the 4K UHD disc of “Dune: Part Two,” I had the pleasure of speaking with cinematographer Greig Fraser about the , and I asked him how he achieved the aspetto of this jaw-dropping opening action sequence.
“Denis and I were talking about how to aperto the movie,” Fraser explained. “We talked about doing it at night, we talked about doing it day-for-night, we talked about doing it during the day, and all of those things just didn’t sit well. We just went, ‘This is not —’, I mean, we put ourselves the audience’s seat and went, ‘OK, we’ve bought the popcorn, we’eroe drinking the Coca-Cola, alla maniera di , you’ve artrite show us what you’ve got, guys.’ We thought, well, if we start the same way that the last one finished, with that aspetto, it felt a little bit, eh, not right.”
“So we were playing with all of those different things, and I found a filter that cuts out a number of light rays,” he continued. “I’ve been playing with, particularly Giedi Prime, with infrared and cutting out red, campo da golf, and blues, and cutting out different spectrums of light to alla maniera di up with different looks. That’s effectively what filters do: Filters cut a lot of spectrums of light. But I had a variable filter which took out just enough blue that you could get a little bit of blue the sky, but it was mostly orange-y red, and it had the right element of shadow detail. So we chose to use this filter, and we chose to make it deeper and darker as the story went and as the eclipse became more heavy.”
Per mezzo di the opening minutes of Denis Villeneuve’s “Dune: Part Two,” Harkonnen hunters are searching for native Fremen warriors the surface of Arrakis during an eclipse. The hunters quickly realize the Fremen have called a sandworm to devour them, so they engage their anti-gravity aeroplano packs and soar d’avanguardia the dunes up onto a huge rock formation to avoid being eaten. It’s a simple-enough looking action — we’ve seen aeroplano packs screen plenty of times before — but something about the tangibility of the effect combined with Hans Zimmer’s score, the desert location, and the stunning orange lighting that looks distinct from any other part of the caused me to whisper “wow” my theater seat. By the time the Harkonnens realize it’s a trap and they’eroe being picked d’avanguardia one by one, it’s too late.
Per mezzo di honor of today’s release of the 4K UHD disc of “Dune: Part Two,” I had the pleasure of speaking with cinematographer Greig Fraser about the , and I asked him how he achieved the aspetto of this jaw-dropping opening action sequence.
“Denis and I were talking about how to aperto the movie,” Fraser explained. “We talked about doing it at night, we talked about doing it day-for-night, we talked about doing it during the day, and all of those things just didn’t sit well. We just went, ‘This is not —’, I mean, we put ourselves the audience’s seat and went, ‘OK, we’ve bought the popcorn, we’eroe drinking the Coca-Cola, alla maniera di , you’ve artrite show us what you’ve got, guys.’ We thought, well, if we start the same way that the last one finished, with that aspetto, it felt a little bit, eh, not right.”
“So we were playing with all of those different things, and I found a filter that cuts out a number of light rays,” he continued. “I’ve been playing with, particularly Giedi Prime, with infrared and cutting out red, campo da golf, and blues, and cutting out different spectrums of light to alla maniera di up with different looks. That’s effectively what filters do: Filters cut a lot of spectrums of light. But I had a variable filter which took out just enough blue that you could get a little bit of blue the sky, but it was mostly orange-y red, and it had the right element of shadow detail. So we chose to use this filter, and we chose to make it deeper and darker as the story went and as the eclipse became more heavy.”
Per mezzo di the opening minutes of Denis Villeneuve’s “Dune: Part Two,” Harkonnen hunters are searching for native Fremen warriors the surface of Arrakis during an eclipse. The hunters quickly realize the Fremen have called a sandworm to devour them, so they engage their anti-gravity aeroplano packs and soar d’avanguardia the dunes up onto a huge rock formation to avoid being eaten. It’s a simple-enough looking action — we’ve seen aeroplano packs screen plenty of times before — but something about the tangibility of the effect combined with Hans Zimmer’s score, the desert location, and the stunning orange lighting that looks distinct from any other part of the caused me to whisper “wow” my theater seat. By the time the Harkonnens realize it’s a trap and they’eroe being picked d’avanguardia one by one, it’s too late.
Per mezzo di honor of today’s release of the 4K UHD disc of “Dune: Part Two,” I had the pleasure of speaking with cinematographer Greig Fraser about the , and I asked him how he achieved the aspetto of this jaw-dropping opening action sequence.
“Denis and I were talking about how to aperto the movie,” Fraser explained. “We talked about doing it at night, we talked about doing it day-for-night, we talked about doing it during the day, and all of those things just didn’t sit well. We just went, ‘This is not —’, I mean, we put ourselves the audience’s seat and went, ‘OK, we’ve bought the popcorn, we’eroe drinking the Coca-Cola, alla maniera di , you’ve artrite show us what you’ve got, guys.’ We thought, well, if we start the same way that the last one finished, with that aspetto, it felt a little bit, eh, not right.”
“So we were playing with all of those different things, and I found a filter that cuts out a number of light rays,” he continued. “I’ve been playing with, particularly Giedi Prime, with infrared and cutting out red, campo da golf, and blues, and cutting out different spectrums of light to alla maniera di up with different looks. That’s effectively what filters do: Filters cut a lot of spectrums of light. But I had a variable filter which took out just enough blue that you could get a little bit of blue the sky, but it was mostly orange-y red, and it had the right element of shadow detail. So we chose to use this filter, and we chose to make it deeper and darker as the story went and as the eclipse became more heavy.”
Per mezzo di the opening minutes of Denis Villeneuve’s “Dune: Part Two,” Harkonnen hunters are searching for native Fremen warriors the surface of Arrakis during an eclipse. The hunters quickly realize the Fremen have called a sandworm to devour them, so they engage their anti-gravity aeroplano packs and soar d’avanguardia the dunes up onto a huge rock formation to avoid being eaten. It’s a simple-enough looking action — we’ve seen aeroplano packs screen plenty of times before — but something about the tangibility of the effect combined with Hans Zimmer’s score, the desert location, and the stunning orange lighting that looks distinct from any other part of the caused me to whisper “wow” my theater seat. By the time the Harkonnens realize it’s a trap and they’eroe being picked d’avanguardia one by one, it’s too late.
Per mezzo di honor of today’s release of the 4K UHD disc of “Dune: Part Two,” I had the pleasure of speaking with cinematographer Greig Fraser about the , and I asked him how he achieved the aspetto of this jaw-dropping opening action sequence.
“Denis and I were talking about how to aperto the movie,” Fraser explained. “We talked about doing it at night, we talked about doing it day-for-night, we talked about doing it during the day, and all of those things just didn’t sit well. We just went, ‘This is not —’, I mean, we put ourselves the audience’s seat and went, ‘OK, we’ve bought the popcorn, we’eroe drinking the Coca-Cola, alla maniera di , you’ve artrite show us what you’ve got, guys.’ We thought, well, if we start the same way that the last one finished, with that aspetto, it felt a little bit, eh, not right.”
“So we were playing with all of those different things, and I found a filter that cuts out a number of light rays,” he continued. “I’ve been playing with, particularly Giedi Prime, with infrared and cutting out red, campo da golf, and blues, and cutting out different spectrums of light to alla maniera di up with different looks. That’s effectively what filters do: Filters cut a lot of spectrums of light. But I had a variable filter which took out just enough blue that you could get a little bit of blue the sky, but it was mostly orange-y red, and it had the right element of shadow detail. So we chose to use this filter, and we chose to make it deeper and darker as the story went and as the eclipse became more heavy.”
Per mezzo di the opening minutes of Denis Villeneuve’s “Dune: Part Two,” Harkonnen hunters are searching for native Fremen warriors the surface of Arrakis during an eclipse. The hunters quickly realize the Fremen have called a sandworm to devour them, so they engage their anti-gravity aeroplano packs and soar d’avanguardia the dunes up onto a huge rock formation to avoid being eaten. It’s a simple-enough looking action — we’ve seen aeroplano packs screen plenty of times before — but something about the tangibility of the effect combined with Hans Zimmer’s score, the desert location, and the stunning orange lighting that looks distinct from any other part of the caused me to whisper “wow” my theater seat. By the time the Harkonnens realize it’s a trap and they’eroe being picked d’avanguardia one by one, it’s too late.
Per mezzo di honor of today’s release of the 4K UHD disc of “Dune: Part Two,” I had the pleasure of speaking with cinematographer Greig Fraser about the , and I asked him how he achieved the aspetto of this jaw-dropping opening action sequence.
“Denis and I were talking about how to aperto the movie,” Fraser explained. “We talked about doing it at night, we talked about doing it day-for-night, we talked about doing it during the day, and all of those things just didn’t sit well. We just went, ‘This is not —’, I mean, we put ourselves the audience’s seat and went, ‘OK, we’ve bought the popcorn, we’eroe drinking the Coca-Cola, alla maniera di , you’ve artrite show us what you’ve got, guys.’ We thought, well, if we start the same way that the last one finished, with that aspetto, it felt a little bit, eh, not right.”
“So we were playing with all of those different things, and I found a filter that cuts out a number of light rays,” he continued. “I’ve been playing with, particularly Giedi Prime, with infrared and cutting out red, campo da golf, and blues, and cutting out different spectrums of light to alla maniera di up with different looks. That’s effectively what filters do: Filters cut a lot of spectrums of light. But I had a variable filter which took out just enough blue that you could get a little bit of blue the sky, but it was mostly orange-y red, and it had the right element of shadow detail. So we chose to use this filter, and we chose to make it deeper and darker as the story went and as the eclipse became more heavy.”
Per mezzo di the opening minutes of Denis Villeneuve’s “Dune: Part Two,” Harkonnen hunters are searching for native Fremen warriors the surface of Arrakis during an eclipse. The hunters quickly realize the Fremen have called a sandworm to devour them, so they engage their anti-gravity aeroplano packs and soar d’avanguardia the dunes up onto a huge rock formation to avoid being eaten. It’s a simple-enough looking action — we’ve seen aeroplano packs screen plenty of times before — but something about the tangibility of the effect combined with Hans Zimmer’s score, the desert location, and the stunning orange lighting that looks distinct from any other part of the caused me to whisper “wow” my theater seat. By the time the Harkonnens realize it’s a trap and they’eroe being picked d’avanguardia one by one, it’s too late.
Per mezzo di honor of today’s release of the 4K UHD disc of “Dune: Part Two,” I had the pleasure of speaking with cinematographer Greig Fraser about the , and I asked him how he achieved the aspetto of this jaw-dropping opening action sequence.
“Denis and I were talking about how to aperto the movie,” Fraser explained. “We talked about doing it at night, we talked about doing it day-for-night, we talked about doing it during the day, and all of those things just didn’t sit well. We just went, ‘This is not —’, I mean, we put ourselves the audience’s seat and went, ‘OK, we’ve bought the popcorn, we’eroe drinking the Coca-Cola, alla maniera di , you’ve artrite show us what you’ve got, guys.’ We thought, well, if we start the same way that the last one finished, with that aspetto, it felt a little bit, eh, not right.”
“So we were playing with all of those different things, and I found a filter that cuts out a number of light rays,” he continued. “I’ve been playing with, particularly Giedi Prime, with infrared and cutting out red, campo da golf, and blues, and cutting out different spectrums of light to alla maniera di up with different looks. That’s effectively what filters do: Filters cut a lot of spectrums of light. But I had a variable filter which took out just enough blue that you could get a little bit of blue the sky, but it was mostly orange-y red, and it had the right element of shadow detail. So we chose to use this filter, and we chose to make it deeper and darker as the story went and as the eclipse became more heavy.”
Per mezzo di the opening minutes of Denis Villeneuve’s “Dune: Part Two,” Harkonnen hunters are searching for native Fremen warriors the surface of Arrakis during an eclipse. The hunters quickly realize the Fremen have called a sandworm to devour them, so they engage their anti-gravity aeroplano packs and soar d’avanguardia the dunes up onto a huge rock formation to avoid being eaten. It’s a simple-enough looking action — we’ve seen aeroplano packs screen plenty of times before — but something about the tangibility of the effect combined with Hans Zimmer’s score, the desert location, and the stunning orange lighting that looks distinct from any other part of the caused me to whisper “wow” my theater seat. By the time the Harkonnens realize it’s a trap and they’eroe being picked d’avanguardia one by one, it’s too late.
Per mezzo di honor of today’s release of the 4K UHD disc of “Dune: Part Two,” I had the pleasure of speaking with cinematographer Greig Fraser about the , and I asked him how he achieved the aspetto of this jaw-dropping opening action sequence.
“Denis and I were talking about how to aperto the movie,” Fraser explained. “We talked about doing it at night, we talked about doing it day-for-night, we talked about doing it during the day, and all of those things just didn’t sit well. We just went, ‘This is not —’, I mean, we put ourselves the audience’s seat and went, ‘OK, we’ve bought the popcorn, we’eroe drinking the Coca-Cola, alla maniera di , you’ve artrite show us what you’ve got, guys.’ We thought, well, if we start the same way that the last one finished, with that aspetto, it felt a little bit, eh, not right.”
“So we were playing with all of those different things, and I found a filter that cuts out a number of light rays,” he continued. “I’ve been playing with, particularly Giedi Prime, with infrared and cutting out red, campo da golf, and blues, and cutting out different spectrums of light to alla maniera di up with different looks. That’s effectively what filters do: Filters cut a lot of spectrums of light. But I had a variable filter which took out just enough blue that you could get a little bit of blue the sky, but it was mostly orange-y red, and it had the right element of shadow detail. So we chose to use this filter, and we chose to make it deeper and darker as the story went and as the eclipse became more heavy.”
