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

• Greg explains how he approaches every job in the same way, regardless of its size or budget.

Grounded Cinematography in Dune

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

Groundedness in Cinematography

• Greg talks about how he resisted moving away from intimacy when shooting larger films.

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

• Greg explains how he tries to make the audience feel close to the characters through his cinematography.

Conclusion

In this section, Greg talks about his approach to filmmaking and how he focuses on good stories and characters.

Focusing on Good Stories

• Greg talks about how he approaches every job with the same expectations and that it ultimately comes down to story and characters.

• Greg mentions how he is fortunate enough not to have to market or sell a movie.

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 its lighting choices.

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 answers a question about how they achieved the soft lighting in Dune.

• They explain that there was an overriding level of softness they were aiming for due to the fact that inside residences there is no direct sun.

• The motivation for softness came from building structures not to have direct sun because it's harsh and lacks water.

• The speaker explains that every situation was different when it came to adding diffusion layers but there was an overriding level of softness aimed for.

• To achieve this look, they did mock-up pieces and tested every conceivable light source until they found what worked best for them.

• They used directional LEDs which allowed them to add sharpness while still being able to soften it slightly.

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 can be made soft by adjusting them.

Handling Exteriors

• Photocam helped with choosing the right LUT for exteriors.

• Wind machines were used to create wind on the back lot in Budapest to help sell the idea of barrenness and harshness.

• A frankenstein LUT was created that served their highlights, softened the sun, lifted blacks, mid-tones, and shadows.

Inspiration for Visual Design

This section covers how Denis Villeneuve's explanation of how he felt this world inspired Roger Deakins' visual design.

Denis Villeneuve's Explanation

• Villeneuve described his vision vividly. He wanted sandy golden sound but not too saturated.

• He wanted hazy skies similar to June gloom that carries over to November in Venice Beach where it just stays a little cloudy and hazy for the whole day even though there is sun behind there.

Polarization

• Lack of polarization was sometimes used when shooting in the desert. In this case, polarizing blue out was done instead.

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 design of the movie was intentionally made to look ancient and brutalist with very little technology present.

• This decision was made so that there were no blinking lights or chrome robots walking around since computers did not exist in this world.

Choosing Cameras That Fit The Look

• Shooting on film made it look too nostalgic while shooting purely digital looked too sharp.

• To create a softer look, they combined Alexa LF with lenses, diffusion techniques, and film out.

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 Scale in Dune

In this section, the speaker discusses how they created a sense of scale in the movie Dune, particularly in scenes with large sandworms. They talk about the importance of finding the right angle and distance to make characters feel small in big environments.

Approaching Scenes with Isolated Characters

• To create isolation for characters, proper characterization is necessary.

• Finding the right angle and distance is crucial to creating a sense of scale.

• There is no hard and fast rule for distance or size; it's all about finding a balance that strikes the right feel.

• Working with visual effects can be challenging because there is an unknown element involved.

Creating Scale with Sandworm Visual Effects

• The sandworm scene was very clearly storyboarded but required adjustments on set to get the scale right.

• Sometimes physical space limitations require post-production help to shrink people down and maintain scale.

• Unreal Engine technology was not fully utilized on set due to limitations, but early stages were used for some sets.

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 during 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 impact 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 characterization.

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 around 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 the light on a dolly and track and covered it 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 this movie. They ended up approaching it visually with flat ambience.

• Most of the time, they shot dusk and dawn scenes then graded them to look like nighttime.

• The choices were made to have it feel relatable in a weird way.

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 support.

Acknowledgments

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

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

• Concludes by thanking everyone for listening and invites them to join next week's episode of Go Creative Show.