4/19/2023 0 Comments Dark runner shotsIt was a very different way of working - instead of filming, then extracting the foreground and adding the other elements later, it was a blend that gave us a far more believable shot. Once we had all this high-resolution imagery, the compositors could take that imagery and blend it with the Budapest footage, producing really natural-looking shots. We also shot hours of footage out in the United Arab Emirates, flying over dunes with an array camera, which is basically six cameras attached to the front of a helicopter. On a sunny day, the light would bounce off the sand into the cabin, so when you look at the footage and the focus is on Paul (Timothée Chalamet), it feels - visually - like you’re flying high over the desert, because you have all this light and sandy brown environment, and over that, just blue sky. But for this, we found the highest hill outside of Budapest and put our ornithopter on a gimbal on top of that hill, surrounded by a sand-colored wrap. … So, for shots inside the ornithopters, you’d traditionally film in a studio surrounded by green or blue screen and replace everything outside the windows. For everything on Arrakis, we used the sand color, because we knew that behind the characters, it was always going to be Arrakeen or it was going to be the desert. Well, for example, we used sand-colored screen rather than green or blue screen in a lot of shots. How did that plan take form while you were filming? We were never in a position where we shot something and had to add something else in the background and were like, “We’ll just fix it in postproduction.” We always knew there was going to be a very specific structure or element behind the actors at all points, so we could make decisions based on that certainty. We had a really good grasp on what everything was going to look like, so it allowed us to come up with different techniques on the set to help produce the best visuals we could. They had designs for the worms and for Arrakeen, and we basically built physical sets which matched these images, as well as virtual worlds and ornithopters and everything else based on those designs. What were some of the early meetings like when you were hashing out the film’s look and how you’d achieve some of the big, VFX-fueled elements?ĭenis and Patrice had spent most of a year developing all of these visuals and all of the concepts. Even with building these massive worlds, with all these spaceships and things, the goal is that you actually believe this could actually happen - basically, trying to keep it as grounded and as realistic as possible. I like to try to make things as invisible as possible so that nothing takes you out of the movie. But having worked with Denis before and knowing his approach was going to be very photoreal and realistic, I knew what that challenge was going to be. Was the challenge part of the appeal to you? The series explores the amazing tricks filmmakers and their effects teams used to make each of these films stand out as visual spectacles.ĭigital Trends: Dune is such an epic project that’s been considered such a difficult one for so long. This article is part of Oscar Effects – a five-part series that puts the spotlight on each of the five movies nominated for “Best Visual Effects,” at the 94th Academy Awards. Lambert’s talent for grounding sci-fi spectacle in relatable elements of the real world was put to the test in Dune, and with the visual effects earning the film an Oscar nomination, he spoke to Digital Trends about bringing a project many believed impossible to the screen. Fitbit Versa 3Īmong the team Villeneuve assembled for Dune was two-time Oscar winner Paul Lambert, his visual effects supervisor on Blade Runner 2049, who took home an Academy Award for his work on that film and then repeated that feat the following year for the Neil Armstrong biopic First Man.
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