We also spent about five to six weeks in Jordan, just under two weeks in the United Arab Emirates, three or four days in Norway and a few days in California for some of the dream sequences and motion capture. We had stages, the backlot and various locations around the city. We shot for about 115 days and were based in Budapest. On Dune we had just under six months of preproduction to try to figure out every aspect of shooting the movie. Special effects would say, “We could do this,” and then I would chime in with how we could do a shot in a particular way. That’s when Greig would discuss camera moves and Denis would explain what he was after.
We would touch base every couple of months until I got confirmed on the show with the studio.ĭuring preproduction, we have daily conversations as to how we’re going to shoot particular aspects of the movie, and we’ll go around the table and figure out how to do a shot. Paul Lambert: I had previously worked with Denis on Blade Runner 2049, and it was actually during the BAFTAs for Blade Runner - we had just won the Visual Effects BAFTA - when he told me that he was working on the script for Dune and asked me if I would be interested. Paul, how did you get on board with this project? We spoke to the film’s overall VFX supervisor, Paul Lambert ( First Man, Blade Runner 2049), who works out of DNeg Vancouver DNeg Montreal VFX supervisor Brian Connor ( Wonder Woman, Godzilla: King of the Monsters) and DNeg Vancouver VFX supervisor Tristan Myles ( First Man, Blade Runner 2049). postPerspective recently caught up with key members of the visual effects team to get a glimpse behind the scenes of the battle for Spice.
The 2021 big-screen adaption of Dune, based on the Frank Herbert book, was written and directed by Denis Villeneuve ( Arrival, Blade Runner 2049).