Creamsource has posted an attention-grabbing video the place cinematographer Greig Fraser ACS, ASC breaks down the visible and lighting method behind Dune: Part Two, from the movie’s color journey (Caladan to Giedi Prime to Arrakis) to the sensible problem of making a sensible “sun” on set.
Fraser talks about constructing sharp, clear shafts of sunshine, the downside of matching (or augmenting) the solar, and the way the workforce used Creamsource Vortex fixtures, culminating in a customized construct of 64 Vortex8 models (the “Vortex 512”) to create an intense, controllable solar supply for Arrakis. The Vortex 512 was used to create sharp shafts of sunshine in inside scenes and to simulate a gentle dawn for the movie’s last battle scene by adjusting the energy and coloration temperature of the LEDs.
Topics Covered
- 00:04 – Denis’ journey to make Dune
- 00:13 – Honoring Denis’ imaginative and prescient
- 00:34 – Playing with coloration and saturation
- 00:48 – Caladan to Giedi Prime to Arrakis: the coloration arc
- 01:13 – Arrakis exteriors – a harsh surroundings
- 02:40 – Designing sharp shafts of sunshine
- 02:48 – Greig on utilizing Creamsource Vortex
- 03:33 – The everlasting downside: “trying to match the sun”
- 03:58 – “We used the Creamsources to create the sun”
- 04:08 – Joining sufficient Vortexes to succeed in “soft sun” ranges
- 04:17 – Building 64 Vortex8 = “Vortex 512”
- 05:38 – The sensible problem of capturing a dawn
- 05:53 – The Vortex 512 as the controllable “sun” resolution
- 06:11 – The true energy output of Vortex
- 08:13 – Creamsource pondering like tech + lighting firm
- 08:54 – One mild doing “30 different jobs” over a film
- 08:59 – How Creamsource excels
