Dune Part 2 has the most insane colour palette & shots I have ever seen in a single movie. The only movie where cinematographer rules over every other department & still makes the movie great✨
My only critique of Dune Part 2 is that we will never get to see the expanded IMAX view at home which is a goddamn shame. Even Disney release their movies in an expanded format for Disney+ and I think this would really benefit from that. Expanding to the middleground IMAX option which would use most of a 16:9 screen would be fantastic. It doesn't make sense to release 2:39:1 for home streaming anyway, everyone has a 16:9 TV anyway. Super confusing. I would be fine if it was just for the 4K blu-ray or something, like Nolan did with Oppenheimer.
@@GrandHighGamer It does seem a strange restriction. If you shoot a larger image format for IMAX, does IMAX just own the parts of that image? Or is it Warner Brothers that simply can't be arsed to do another version?
@@eruannster IMAX doesn't own anything. It wasn't even shot on IMAX cameras. WB has released movies with those aspect ratios before. Nolan's movies, a few DCEU movies. None of them have the IMAX logo on them but they have changing aspect ratios, so I don't think they needed to deal with IMAX to release those. Based on the comments Dennis made in the press tour for Dune 2, he wasn't even aware that the IMAX ratio wasn't on the 4K, which many people understood as him saying it's coming but I understood as him not really caring about the home video release. His DP for these movies, Greig Fraser, did some interviews to promote the Dune 2 home video release and kept referring to it as "the DVD". This could be as simple as the Director and DP not caring enough for WB to release it, unlike the Nolan or Snyder movies. Maybe they'll do the same thing they did with Batman v Superman and re-release it in a few years
The photo of the 80s Moviecams used in the video around 4.05 is actually an image of a set of three lenses that I own, the 28mm, 40mm and 85mm, all on Mitchell BNCR mount. The entire range of Moviecams are just rehoused Olympus Om Zuikos.
Moving from one lens package to another lens package from the first film to the second film, that too both were shot one after another. That's interesting.
13:51 as to this film step: is there no digital means to emulate this well enough? For the longest time, this level of convincing analog emulation was the final frontier in audio processing, and when I started recording, rhey said this would never happen. Then it did in the prosumer arena via UA Studer 880 and Slate Digital’s vtm. There were others, but none as good as these at the price point. UNTIL then, digital music production often had a similar process of “bouncing to tape” or “running it through the board”. However, nowadays, such would herald an expense that no client is asking for or willing to pay, and the target audience is none the wiser. Everything is almost entirely ITB. Have we not seen parity in the visual media?
Great video, and agree with the criticism against Ant-Man, I've only ever walked out of 1 film and that was Quantamania, as soon as I saw Modok, I got up and left the theatre, the whole film was just silly CGI.
I found the cinematography in Part Two to be without a doubt beautiful in many shots, but was more "Hollywood" in approach, especially the sandworms attacking the Sardaukar. It missed a lot of what I liked in Dune Part One with the ships, scale, and to some degree, the explosions found when the Harkonnen's attacked Arrakeen. Also somehow, Dune Part Two has less 1.43 footage than Dune Part One which is odd.
I'm always wondering how you shoot a big movie in a desert. Isn't it impossible to keep out all sand? Not only the cameras, lenses, monitors, cables, cases and so on...
Mich würde mal interessieren, mit welcher Begründung die Sensoren der klassischen Broadcast Camcorder immer noch so klein sind. Das einzige Argument was ich bis jetzt mitbekommen habe ist die dazugehörige Lindenauswahl alter Mounts die bis heute genutzt werden.
Bad directors: Make scenes with boring lighting Good directors: Make scenes with interesting lighting Incredible director: Makes a scene with spectacular lighting and grounds it by showing an eclipse
Fincher had one shot in Panic Room where the camera moves through the house and they've built that whole set with that shot in mind. I guess the criticism about camera moves is because in CG shots the camera ignores physics but with modern rigs more and more of those shots are possible. It's odd to put Quantumania up there for comparison when the goal in that movie was to create a different reality that isn't like ours. It was by design and maybe some of those shots were designed to help you feel that while in Dune they wanted it to feel real and they just shot it in a desert and made it look like Earth and not some other planet.
@@Ishai1 Pretty sure Fincher went through a wall, digitally, in 7 and a few other movies. He was an animator before he was a director. There are always underhanded digs at Marvel movies but typically it feels like it’s just always just part of a “class war” about colorful and vibrant vs. desaturated and drab. I used to have that mindset, but to me I’m thinking it’s just a bias.
@@Imhotep397 I was referring to Panic Room. That DVD has lots of great BTS including that one shot of the camera going through the house. Unfortunately it never made it to BD or 4K
It is a bit limiting to say that your visual language should be grounded tho. Many of the most innovative films in history such as the german expressionism takes a surreal, hyperreal approach to film making which *enhances* the fantastical and creates a form of verisimilitude which makes it easier to accept what is on screen because it truly feels like a whole different world. What tethers it to our reality is the human elements - the characters, their motivation, their relationship, etc. Don't get me wrong I adore dune but acting like this is the only way to do an immersive film is just plain wrong. I mean otherwise animation wouldn't be such a popular medium.
Both were under lit. And the grey, tan, black palette got tiresome really quickly. Some amazing shots intermittently tying together some ponderous drag.
I heard it was really bold because they used large format to create more compression :) (please take down your crop factor video that has misinformation)
I felt the same, though it wasn't until watching this video that I knew what the difference was! I felt a difference and knew I preferred the first film. Knowing that was anamorphic and this was spherical makes so much sense.
They made some strange choices on what to make 1.43:1 IMAX and what to not, it changed way too much within a scene, Nolan is way more logical with it with it and that’s even with the limitation of IMAX 65MM, which Dune did not have to deal with. Dune part 1 did the aspect ratio switching better and more consistent.
@@JacobyfilmsI disagree, seeing it full 1:43 the ratio change were way more subtle than Nolan’s films or Dune 1, mostly because it didn’t have to go down to 2:39 or 2:20 I mean all of dune 2 is at least 1:90. But to answer the strange choices in which scenes are full 1:43 I think mostly comes down to budget. Becuase Dune 2 was all digital dialogue scenes could be full imax much more easily than action scenes. (Since you are in essence paying for more CGI that will only be seen by 12 theaters in the world) where as with Nolan due to his obsession with practical photographed VFX composited into scenes it makes it much cheaper. (Though Nolan is also in general super picky, and is willing to spend money on full 15perf 65mm, so there’s that) But then there are some scenes that don’t appear to have much set extensions or FX but aren’t the full ratio. Which might come down to the Alexa 65 being a 2:20 sensor, and thus wanting to “use more of the lens” by cropping only to 1:90 instead of down to 1:43. @AdrianUrsanu anamorphic is awesome but I think it’s silly to limit cinematography to one style, especially when Grieg Fraser seems allergic to repeating his kit. Plus the spherical lended itself better to the films imax focus. (Plus in Dune 1 after Paul goes in the desert the film almost entirely forgoes using anamorphic, so by the film’s logic, dune 2 being all spherical makes sense ) Don’t get me wrong anamorphic is awesome, but I think where dune 2 is visually stronger comes down to lighting, and camera movement, and the style of compositions not just the glass used. (Though hot damn do the shots on the 85mm Jupiter 9 look great on full imax)
@@C.C.Cope220 I’m not really talking about subtle, I’m talking about consistency, scenes that should be all in 1.43:1 weren’t (Like Gurney showing up again), would be similar to Nolan switching aspect ratios in the middle of the docking scene, he’s usually pretty good at having a clear in and out point when it comes to deploying IMAX, which Dune part 1 did good as well. The budget as the reason would make sense though.
Greig Fraser won an Academy Award for Best Cinematography for his work on the 2021 sci-fi movie Dune part one. He deserves an Academy Award for Best Cinematography for his work on the 2024 sci-fi movie Dune part two.
I assume you are also calling the many directors , cinematographers and industry insiders praising the craft in Dune part 1 and Dune part 2 lost as well which include veterans that have been making films since before Greig Fraser was even born. Alrriiiiiighty then !
It is mostly mediocre at best. The movie and its cinematography. There were few good shots, but mostly it failed to show the scale of the desert and how small human in its scale,like it was greatly made in Lawrence of Arabia. Nor showing tension between characters and emotions in body movements like in Kurosawa movies. Just watched the film yesterday and bearly can remember anything aside couple of shots..
i kinda agree with this. I love dune but the desert shot is lacking the amount brutalism and scale that what i imagine especially when compared to Lawrence of Arabia. One of the reason being the focal length choice making almost all shot in Dune 2 looks have too much bokeh that it really seperates the character from the background. But i like to think because DV intended the film to feel more intimate and close to character
Power over Cinematography is Power over all
Skill of that cinematographers is totally unbelievable. Thx for video.
Superb dissection. Thanks so much.
Dune Part 2 has the most insane colour palette & shots I have ever seen in a single movie. The only movie where cinematographer rules over every other department & still makes the movie great✨
Stage 32 brought me here with Richard "RB" Botto. Great Video!
My only critique of Dune Part 2 is that we will never get to see the expanded IMAX view at home which is a goddamn shame. Even Disney release their movies in an expanded format for Disney+ and I think this would really benefit from that. Expanding to the middleground IMAX option which would use most of a 16:9 screen would be fantastic. It doesn't make sense to release 2:39:1 for home streaming anyway, everyone has a 16:9 TV anyway. Super confusing.
I would be fine if it was just for the 4K blu-ray or something, like Nolan did with Oppenheimer.
I do wonder if IMAX imposes restrictions on the release. Disney and Nolan both clearly have immense pull on that front, perhaps DV / Warner does not?
@@GrandHighGamer It does seem a strange restriction. If you shoot a larger image format for IMAX, does IMAX just own the parts of that image? Or is it Warner Brothers that simply can't be arsed to do another version?
@@eruannster IMAX doesn't own anything. It wasn't even shot on IMAX cameras.
WB has released movies with those aspect ratios before. Nolan's movies, a few DCEU movies.
None of them have the IMAX logo on them but they have changing aspect ratios, so I don't think they needed to deal with IMAX to release those.
Based on the comments Dennis made in the press tour for Dune 2, he wasn't even aware that the IMAX ratio wasn't on the 4K, which many people understood as him saying it's coming but I understood as him not really caring about the home video release. His DP for these movies, Greig Fraser, did some interviews to promote the Dune 2 home video release and kept referring to it as "the DVD".
This could be as simple as the Director and DP not caring enough for WB to release it, unlike the Nolan or Snyder movies. Maybe they'll do the same thing they did with Batman v Superman and re-release it in a few years
The photo of the 80s Moviecams used in the video around 4.05 is actually an image of a set of three lenses that I own, the 28mm, 40mm and 85mm, all on Mitchell BNCR mount.
The entire range of Moviecams are just rehoused Olympus Om Zuikos.
So cool, Dune never ceases to amaze me. Is there any possibility of a video on the cinematography of Dev Patel's Monkey Man?
Super interesting, thanks for the technical info about one of the best sci-fi movies ever made.
Greig Fraser doesn't miss.
Denis Villanueve doesn't miss.
The whole team did splendid. Saw it twice in Dolby and once in IMAX.
Saw twice in IMAX once in Dolby 😂 once in laser. Incredible film
Nice to see some shots with assets i have worked on featured in this video :D
Another cool video. Thank you.
Great video.
Moving from one lens package to another lens package from the first film to the second film, that too both were shot one after another. That's interesting.
Greg Frazier is the man! Beautiful films
13:51 as to this film step: is there no digital means to emulate this well enough? For the longest time, this level of convincing analog emulation was the final frontier in audio processing, and when I started recording, rhey said this would never happen. Then it did in the prosumer arena via UA Studer 880 and Slate Digital’s vtm. There were others, but none as good as these at the price point. UNTIL then, digital music production often had a similar process of “bouncing to tape” or “running it through the board”. However, nowadays, such would herald an expense that no client is asking for or willing to pay, and the target audience is none the wiser. Everything is almost entirely ITB.
Have we not seen parity in the visual media?
Great video, and agree with the criticism against Ant-Man, I've only ever walked out of 1 film and that was Quantamania, as soon as I saw Modok, I got up and left the theatre, the whole film was just silly CGI.
I found the cinematography in Part Two to be without a doubt beautiful in many shots, but was more "Hollywood" in approach, especially the sandworms attacking the Sardaukar. It missed a lot of what I liked in Dune Part One with the ships, scale, and to some degree, the explosions found when the Harkonnen's attacked Arrakeen.
Also somehow, Dune Part Two has less 1.43 footage than Dune Part One which is odd.
That was in the books
I agree. A work of art.
what a wonderful channel
I'm always wondering how you shoot a big movie in a desert. Isn't it impossible to keep out all sand? Not only the cameras, lenses, monitors, cables, cases and so on...
I loved how Dune 2 looks but imo dune 1 looks just better for the world with the anamorphics
Mich würde mal interessieren, mit welcher Begründung die Sensoren der klassischen Broadcast Camcorder immer noch so klein sind. Das einzige Argument was ich bis jetzt mitbekommen habe ist die dazugehörige Lindenauswahl alter Mounts die bis heute genutzt werden.
Bad directors: Make scenes with boring lighting
Good directors: Make scenes with interesting lighting
Incredible director: Makes a scene with spectacular lighting and grounds it by showing an eclipse
I wanna join a film crew and advance in the field
Brian Depalma and David Fincher often move cameras through walls, but I bet know one will ever criticize them for it.
Fincher had one shot in Panic Room where the camera moves through the house and they've built that whole set with that shot in mind.
I guess the criticism about camera moves is because in CG shots the camera ignores physics but with modern rigs more and more of those shots are possible.
It's odd to put Quantumania up there for comparison when the goal in that movie was to create a different reality that isn't like ours. It was by design and maybe some of those shots were designed to help you feel that while in Dune they wanted it to feel real and they just shot it in a desert and made it look like Earth and not some other planet.
@@Ishai1 Pretty sure Fincher went through a wall, digitally, in 7 and a few other movies. He was an animator before he was a director.
There are always underhanded digs at Marvel movies but typically it feels like it’s just always just part of a “class war” about colorful and vibrant vs. desaturated and drab. I used to have that mindset, but to me I’m thinking it’s just a bias.
@@Imhotep397 I was referring to Panic Room. That DVD has lots of great BTS including that one shot of the camera going through the house. Unfortunately it never made it to BD or 4K
It is a bit limiting to say that your visual language should be grounded tho. Many of the most innovative films in history such as the german expressionism takes a surreal, hyperreal approach to film making which *enhances* the fantastical and creates a form of verisimilitude which makes it easier to accept what is on screen because it truly feels like a whole different world. What tethers it to our reality is the human elements - the characters, their motivation, their relationship, etc. Don't get me wrong I adore dune but acting like this is the only way to do an immersive film is just plain wrong. I mean otherwise animation wouldn't be such a popular medium.
Epic❤
I'm having a bit trouble listening to the narrating in this one, too. Did the narrator recently had a child?(If so, congratulations.)
Both were under lit. And the grey, tan, black palette got tiresome really quickly. Some amazing shots intermittently tying together some ponderous drag.
I heard it was really bold because they used large format to create more compression :)
(please take down your crop factor video that has misinformation)
First Dune looked better than second one. Anamorphic is the way
They should invest that cash in Anamorphic lenses, they would make it all back anyway...
I felt the same, though it wasn't until watching this video that I knew what the difference was! I felt a difference and knew I preferred the first film. Knowing that was anamorphic and this was spherical makes so much sense.
They made some strange choices on what to make 1.43:1 IMAX and what to not, it changed way too much within a scene, Nolan is way more logical with it with it and that’s even with the limitation of IMAX 65MM, which Dune did not have to deal with.
Dune part 1 did the aspect ratio switching better and more consistent.
@@JacobyfilmsI disagree, seeing it full 1:43 the ratio change were way more subtle than Nolan’s films or Dune 1, mostly because it didn’t have to go down to 2:39 or 2:20 I mean all of dune 2 is at least 1:90.
But to answer the strange choices in which scenes are full 1:43 I think mostly comes down to budget. Becuase Dune 2 was all digital dialogue scenes could be full imax much more easily than action scenes. (Since you are in essence paying for more CGI that will only be seen by 12 theaters in the world) where as with Nolan due to his obsession with practical photographed VFX composited into scenes it makes it much cheaper. (Though Nolan is also in general super picky, and is willing to spend money on full 15perf 65mm, so there’s that)
But then there are some scenes that don’t appear to have much set extensions or FX but aren’t the full ratio. Which might come down to the Alexa 65 being a 2:20 sensor, and thus wanting to “use more of the lens” by cropping only to 1:90 instead of down to 1:43.
@AdrianUrsanu anamorphic is awesome but I think it’s silly to limit cinematography to one style, especially when Grieg Fraser seems allergic to repeating his kit. Plus the spherical lended itself better to the films imax focus. (Plus in Dune 1 after Paul goes in the desert the film almost entirely forgoes using anamorphic, so by the film’s logic, dune 2 being all spherical makes sense )
Don’t get me wrong anamorphic is awesome, but I think where dune 2 is visually stronger comes down to lighting, and camera movement, and the style of compositions not just the glass used. (Though hot damn do the shots on the 85mm Jupiter 9 look great on full imax)
@@C.C.Cope220 I’m not really talking about subtle, I’m talking about consistency, scenes that should be all in 1.43:1 weren’t (Like Gurney showing up again), would be similar to Nolan switching aspect ratios in the middle of the docking scene, he’s usually pretty good at having a clear in and out point when it comes to deploying IMAX, which Dune part 1 did good as well. The budget as the reason would make sense though.
dude said Dune is "bold" cinematography
I swear some of you zoomers are so fucking lost
Blaming your unsubstantiated opinion on an entire generation. Lost indeed.
What are some examples of "bold" cinematography in your opinion?
Greig Fraser won an Academy Award for Best Cinematography for his work on the 2021 sci-fi movie Dune part one. He deserves an Academy Award for Best Cinematography for his work on the 2024 sci-fi movie Dune part two.
I assume you are also calling the many directors , cinematographers and industry insiders praising the craft in Dune part 1 and Dune part 2 lost as well which include veterans that have been making films since before Greig Fraser was even born. Alrriiiiiighty then !
Bold cinematography, but poor casting, it just feels like a bunch of Hollywood stars cosplaying
Great actors! Perfect casting!
It is mostly mediocre at best. The movie and its cinematography. There were few good shots, but mostly it failed to show the scale of the desert and how small human in its scale,like it was greatly made in Lawrence of Arabia. Nor showing tension between characters and emotions in body movements like in Kurosawa movies.
Just watched the film yesterday and bearly can remember anything aside couple of shots..
There were many shots that showed the immensity of the desert and how small humans are in its scale. It's a Masterpiece!
i kinda agree with this. I love dune but the desert shot is lacking the amount brutalism and scale that what i imagine especially when compared to Lawrence of Arabia. One of the reason being the focal length choice making almost all shot in Dune 2 looks have too much bokeh that it really seperates the character from the background. But i like to think because DV intended the film to feel more intimate and close to character