Dune: Part Two — “Afterfilming” Reveals Creative Approach

This photographic record was created by virtual-cinematography technician Tamás Papp for Greig Fraser, ASC, ACS during the production.

Jay Holben

American Cinematographer

These materials appear here with the permission of the filmmakers and Warner Bros. The cinematographer himself offers this overview of the 135-page production report:

This document started as a collection of lighting plans, but also a formal record of all the sets from Dune: Part Two. You never really know when you’re going to have to go back and reshoot a set or do pickups, even with a really disciplined director like Denis Villeneuve. There’s also the possibility you’ll need to shoot another movie on the same set — or on an identical rebuild — for a sequel or spinoff. So, recording and photographing these sets from a technical standpoint was important.

One of the things I really love about this document is that it spotlights Patrice Vermette’s sets. Patrice made some of the most delicate and beautiful pieces of art that I’ve ever laid eyes on — let alone committed to film — and when I asked Tamás to photograph each setup, I also asked him to give love to the sets themselves in his photos. Sets often play second fiddle to the actors and cinematography, but this document gives me a chance to experience them, explore them and enjoy them in a different way. I’m very happy that now others can admire them, too.

I do this kind of record-keeping as often as I can, and I know many other cinematographers do, but it is seldom shared beyond the production, and that’s a shame. It does take another person to create such a document, but it is not just helpful for all the obvious practical reasons; it can also be enlightening and even inspiring. I’m excited to share this with American Cinematographer and give you all a deeper look at how we made these beautiful sets come to life.

— Greig Fraser, ASC, ACS