Introduction

In this section, Ben introduces the guest, Greg Fraser, and mentions that they will be discussing Dune.

Introducing Greg Fraser

• Ben introduces Greg Fraser as the director of photography for Dune.

• Ben mentions that there is a lot to talk about with Dune and that it's been highly anticipated.

Sponsorship

• Ben mentions MZ as the sponsor for this episode and encourages listeners to follow them on social media.

Career Growth

In this section, Ben asks Greg about his career growth and whether he ever wants to do smaller projects.

Balancing Large and Small Projects

• Ben asks if Greg ever craves doing small indie projects.

• Greg responds by saying that he focuses on each project individually and doesn't see it as part of a bigger picture.

• He also says that good stories can come from both large studio-based films and smaller independent films.

Grounded Cinematography in Dune

In this section, Ben discusses how the cinematography in Dune feels grounded despite taking place in a completely different world.

Grounded Characters in a Different World

• Ben mentions how the characters in Dune are relatable despite taking place in a different world.

• He attributes this to the groundedness of the movie's cinematography which makes us feel close to the characters.

Resisting Moving Away from Intimacy

• Greg talks about how he resisted moving away from intimacy as he moved up the ranks in larger budget films.

• He says that directors who worked with him also saw his ability to bring intimacy to larger films.

Conclusion

In this section, Ben and Greg wrap up their discussion.

Approaching Each Project Individually

• Greg reiterates that he approaches each project individually and focuses on the story and characters.

• He believes that this mindset is what makes Dune enjoyable to watch and well-reviewed.

Closing Remarks

• Ben mentions how Greg's approach has made Dune feel grounded despite being a large-scale film.

• They wrap up the discussion.

Motivation for Choosing Film Projects

In this section, the speaker discusses their motivation for choosing film projects and why they only take on projects that make them nervous.

Choosing Projects Based on Fear

• The speaker's primary motivation comes from a place of pure characterization.

• They only take on projects that make them nervous because fear is always part of it.

• Taking on challenging projects keeps things interesting and prevents boredom.

• Making films is a long process that takes a toll on family and health, so the film has to give back creatively to warrant the pressure it puts on other aspects of life.

Importance of Inspiration in Filmmaking

In this section, the speaker talks about the importance of inspiration in filmmaking and how they strive to learn and grow with each project.

Learning and Growing as a Filmmaker

• The most enjoyable part of the filmmaking process for the speaker is learning, stumbling, making mistakes, and carrying on with newfound knowledge.

• They believe filmmakers can get stale if they keep repeating themselves.

• Being inspired every day to grow and learn is essential to prevent stagnation in one's career.

• Working with the right people is crucial when making films.

Pressure of Working on "Dune"

In this section, the speaker discusses their experience working on "Dune" and the pressure that came with it.

Pressure from High Expectations

• "Dune" was a big film with high expectations from audiences due to its reputation as an unfilmable story.

• Working under such pressure can be challenging because you're constantly questioning whether you're doing things right or not.

• Thankfully, working with director Denis Villeneuve made things easier because he knew exactly what he wanted from the film.

• The speaker believes that relationships in filmmaking are essential, and everyone grows off each other's experiences.

Learning from Others

In this section, the speaker talks about the importance of learning from others in filmmaking. They discuss how everyone on set can learn from each other and how it is a joyful part of the job.

Learning from Others

• The speaker believes that everyone on set can learn from each other, including the director, focus puller, gaffer, and grip.

• They explain that this collaborative learning is one of the great parts of filmmaking.

• The speaker mentions that they want to talk about the look of Dune and begin by answering a question about lighting.

Soft Lighting in Dune

In this section, the speaker answers a question about the soft lighting used in Dune. They discuss how they achieved this look through trial and error with different light sources.

Achieving Soft Lighting

• The speaker explains that there is a certain softness to the lighting in Dune because everything inside is built not to have direct sun.

• They mention that there was an overriding level of softness they were aiming for but cannot be specific about how many layers of diffusion were used.

• The speaker describes how they tested every conceivable light source to come up with the right field for such a big set.

• They mention using directional LEDs with sharpness to them so that they could add a degree of softening later while still having some edge to it.

Lighting and LUT

This section covers the lighting and LUT used in the movie.

LED Fresnels and Digital Sputniks

• Only a couple of LED fresnels like the Orbiter existed when they were shooting.

• The lights used were primarily digital sputniks, which have a degree of sharpness to them.

• They are not focusable but have a degree of sharpness that can be softened.

Handling Exteriors

• Photocam helped with choosing the right LUT for exteriors.

• The exteriors needed to be hazy, so wind machines were used to create sand in the air that lingers.

• A frankenstein LUT was created by combining two different LUTS. It served their highlights, lifted blacks and mid-tones while softening the sun.

Inspiration for Visual Style

This section covers how Denis Villeneuve's vision inspired the visual style of Dune.

Denis' Vision

• Denis described his vision vividly, including sandy golden sound and hazy skies.

• He had seen haze in Abu Dhabi and Dubai during scouting trips with Patrice.

Achieving Denis' Vision

• Achieving this look was easier said than done because it's hard to make something look hazy when it's not.

• Lack of polarization was used instead of polarizing blue out. Wind machines were also helpful.

Camera and Film Transfer Process

In this section, the speaker talks about the camera package and unique film transfer process used in filming the movie.

Choosing the Right Camera

• The team tested various cameras including 65mm IMAX, 35mm film, and Alexa LF to determine which would work best for their desired look.

• They ultimately chose to shoot with Alexa LF because it provided the softness they were looking for without appearing too sharp or digital.

Film Transfer Process

• After shooting digitally, they transferred the footage to film before transferring it back to digital again.

• They used a combination of lenses, diffusion techniques, and film out to create a soft world that was not as harsh as pure digital.

Creating a Sci-Fi World Without Technology

In this section, the speaker discusses how they created a sci-fi world without relying on technology.

Designing a World Without Technology

• The goal was to create a sci-fi world that did not rely on technology or feel too nostalgic.

• The design looks ancient and brutalist with very little technology present.

• If someone told you it was set in an alternate universe 10,000 years ago, you would believe it.

Using Polarizers for Filming

In this section, the speaker talks about using polarizers when filming.

Using Polarizers

• When filming outdoors, polarizers can be used to adjust lighting conditions.

• Polarizers can make the image look better or worse depending on the situation.

• The team used polarizers to help create the desired look for the film.

Finding the Technique

In this section, the speaker talks about how they found a technique that was lingering and possible. They tested it and found one particular shot of a sunset that was clear as day. The film softened the edges of digital and gave them something that film acquisition couldn't give them.

Discovering the Technique

• The speaker found a technique that was lingering and possible.

• They tested it and found one particular shot of a sunset that was clear as day.

• The film softened the edges of digital and gave them something that film acquisition couldn't give them.

MZ Empowering Filmmakers

This section is an advertisement for MZ, which is all about educating the filmmaking community. It offers courses on directing, cinematography, post-production, visual storytelling, etc., taught by educators who are working in the field.

MZ Courses

• MZ offers courses on advanced editing in DaVinci Resolve, art and technique of film editing taught by Tom Cross.

• Educators at MZ are working in the field like Vincent Laferrae Shane Hurlbut Philip Bloom.

• You can become an MZ pro member to get access to hundreds of hours of high-quality video-based filmmaking education.

Camera Movement and Focal Lengths

In this section, the speaker talks about camera movement and focal lengths used in Dune. Every single shot feels giant but unique because it brought humanity into it. They tried to find balance between being too long lensed or too wide when with the characters. The large sensor on the lf allows you to use a mid lens yet be reasonably close to your actors.

Camera Movement and Focal Lengths

• Every single shot feels giant but unique because it brought humanity into it.

• They tried to find balance between being too long lensed or too wide when with the characters.

• The large sensor on the lf allows you to use a mid lens yet be reasonably close to your actors.

Creating a Sense of Scale and Isolation

In this section, the speaker discusses how they created a sense of scale and isolation in certain scenes, particularly with the use of wide shots. They also talk about the challenges of working with visual effects to create large-scale environments.

Approaching Scenes with Isolated Characters

• The key is to strike a balance between creating small figures in big environments while still being able to see the characters clearly.

• There is no hard and fast rule for distance or size; it's more about finding a feel that works.

• Being grounded with the characters on their level can help create a sense of scale and immersion.

Working with Visual Effects

• Good communication with VFX supervisors is crucial when working on scenes involving visual effects.

• Sometimes physical space limitations require post-production shrinking of characters to maintain scale.

• While there were some early-stage tools available on set, such as iPads showing what sets might look like, there was not yet an opportunity to see visual effects in real-time using Unreal Engine.

The Intersection of Traditional and VFX Filmmaking

In this section, the speaker discusses the different types of filmmaking, including traditional, VFX-laden, and fully VFX. They explain that "Dune" straddles these worlds by using current technology to augment a more traditional filming process.

Traditional Filmmaking with Technological Advances

• There are three types of filmmaking: traditional, VFX-laden, and fully VFX.

• "Dune" is more grounded technologically than other films in the genre.

• The film is made like a traditional movie but augmented by current technology.

Balancing Special Effects with Human Moments

This section focuses on how "Dune" balances special effects with human moments to create a compelling story.

Importance of Characterization

• The speaker is drawn to characters more than special effects.

• "Dune" inserts human moments to keep audiences engaged.

Confidence in Dark Scenes

• The speaker discusses the decision to keep actors' faces in shadow in some scenes.

• Darkness can help create mood and characterization but must be balanced so as not to be distracting.

Creating Mood through Visual Storytelling

In this section, the speaker talks about creating mood through visual storytelling and how it can affect audience immersion.

Mood as Part of Characterization

• Mood is as big a part of character as the character itself.

• Darkness can help create mood and immersion in a scene.

Balancing Darkness and Visibility

• The speaker discusses the fine line between helping a scene feel a certain way and being distractingly dark.

• Confidence is needed to make decisions about lighting and darkness.

Collaborating with Directors

In this section, the speaker talks about working with directors who have a good sense of taste and how filmmaking is not a democracy. The director's vision is crucial in setting the mood and tone of the film.

Working with Directors

• Filmmaking is not a democracy.

• Directors understand mood and tone.

• There's a fine balance between darkness and clarity.

• It takes a great collaborator director-wise to work with levels of darkness.

Dune Release on HBO Max

In this section, the speaker discusses their thoughts on Dune being released simultaneously on HBO Max as well as theaters. They talk about how it's a brave new world for cinematography and filmmaking.

Thoughts on Dune Release

• Denis has expressed concerns about people watching the film on their phones or bit by bit over 17 journeys.

• The film was made for a particular way of viewing it first and foremost.

• Making accommodations for the lowest common denominator will lead to an unsatisfactory result.

• Viewers are excited to see it in theaters after watching it on HBO Max.

Challenges of Filming Dune

In this section, the director discusses the challenges faced while filming certain scenes in Dune.

The Most Challenging Scene

• The scene where the sandworm eats the spice harvester was particularly challenging due to a series of problems that needed solutions.

• Problems included how to do the flying work, how to land in the desert and have infrastructure, and how to get a construction crane into the sand dunes.

• The scene was shot in different locations using various methods such as backlight, gimbal on a hilltop, and shooting in Jordan and Abu Dhabi.

Filming the Spice Harvester Sucked In

• The final shot of the spice harvester being sucked in was done in Jordan by lifting up an ornithopter with a hard-mounted camera on a crane.

• This allowed for real light movement as if it were banking around. VFX added all other effects except for the spice harvester and sandworm.

Using Real Sand

• For most of the film, they used real sand which made a huge difference since it has a particular color and is very tactile.

Unique Lighting Design in Dune

In this section, they discuss one unique detail from Dune's interior design: floating circular lights.

Floating Circular Lights

• The floating circular lights were designed to make interiors look unique.

• They are simple but effective details that add character to each room.

Lighting and Night Scenes

In this section, the speaker discusses the lighting used in the movie and how they approached shooting night scenes.

Lighting Setup

• The discussion is about what sits in the room. They put lights on moving stands that would move with actors.

• Lights were moved using dollies, tracks, crane arms, and idolia depending on the shot.

• For a profile shot where characters are walking out to a ship, they put light on a dolly and track covered with fog.

Shooting Night Scenes

• There are two different types of night scenes: one that takes place during an attack and one in the desert.

• They had to come up with a consistent night look for the movie. They ended up shooting dusk and dawn and then graded it to look like nighttime.

• The choices were made to have it feel relatable. They explored having two moons or two shadows but decided against it as lighting with two shadows looks bad.

This section is relatively short but covers all relevant information regarding lighting setup and shooting night scenes.

Greg Frazier on Filming Dune

In this section, Greg Frazier talks about the challenges of filming Dune and how they overcame them.

Challenges of Filming Dune

• Filming outside scenes was challenging because they had to do it for real.

• Encourages people to watch the movie in theaters as it is a different experience than watching it on HBO Max.

• Talks about his upcoming projects but cannot reveal much information.

• Thanks Ben Consoli for having him on the show and appreciates the audience's love.

Acknowledgments

• Thanks Connor Crosby from ignitionvisuals.com for producing projects for his production company BC Media Production.

• Encourages listeners to follow them on social media platforms such as Facebook, Instagram, Twitter, and YouTube.