© Warner Bros. Entertainment Inc.
Paul Lambert, an Academy Award-winning VFX supervisor, has been brought back to oversee the visual effects for Dune: Part Two, the second chapter in Denis Villeneuve’s ambitious adaptation of Frank Herbert’s sci-fi classic. The practical techniques emphasized by Lambert have been utilized once more to authentically capture the interplay of light, shadow, and the desert landscapes characteristic of Arrakis.
The narrative focus has been expanded in the sequel, with House Harkonnen shown consolidating its control over Arrakis while House Atreides is depicted in the aftermath of their fall, seeking refuge with the Fremen and plotting rebellion. Over 2,100 shots were produced by DNEG, Wylie Co., and Territory Studio, with concept art provided by Rodeo FX and previsualizations completed by MPC. Villeneuve’s commitment to maintaining consistency in his vision has been noted by Lambert, who remarked that the director’s approach allows shots to be designed with precision to suit the film’s overall aesthetic.
Practical effects have been prioritized during production, with sand screens and shadow mapping techniques being employed to enhance realism. The desert setting required the projection of spice crawler shadows onto the sand, a task managed with custom software. Lambert explained that this ensured a naturalistic appearance for the scenes, with careful planning executed to avoid lighting inconsistencies.
One of the most complex sequences, Paul Atreides’ sandworm ride, was engineered with collapsible dunes that had been constructed specifically for the scene. The right lighting and wind conditions were located, and collapsible structures were embedded to simulate shifting sands. Each reset of the setup required an entire day, but the desired effect was achieved.
© Warner Bros. Entertainment Inc.
© Warner Bros. Entertainment Inc.
Advanced technologies, including LiDAR scanning and Unreal Engine, were employed to replicate natural elements such as rock textures and sand formations. Infrared cameras were also utilized for sequences on Giedi Prime, where a unique visual aesthetic was developed. Challenges arose during filming, such as tattoos becoming visible under infrared light, which required extensive post-production editing.
A single-camera setup was favored by Villeneuve and cinematographer Greig Fraser, which Lambert acknowledged as a significant advantage for precise VFX planning. The approach ensured that each shot could be tailored to meet exacting creative and technical requirements.
© Warner Bros. Entertainment Inc.
© Warner Bros. Entertainment Inc.
Environmental and action sequences were brought to life using a combination of physical builds and digital enhancements. Partial sets were constructed for ornithopters, while apocalyptic vision sequences were designed by combining practical performances with CGI adjustments. Holographic military strategy displays for Giedi Prime were developed in collaboration with Territory Studio, reflecting an integration of innovative technology with artistic storytelling.
Even intricate details, such as the depiction of a baby sandworm, were addressed with a mix of practical and digital effects. Puppeteers operated the creature for close interactions with actors, while CGI adjustments were applied to scale the sandworm’s appearance in various shots.
© Warner Bros. Entertainment Inc.
© Warner Bros. Entertainment Inc.
The seamless integration of practical effects and CGI has been credited with creating the immersive world seen on screen. The belief that has been fostered in the audience through such methods has been described by Lambert as the ultimate goal of the production, ensuring that the boundary between reality and visual effects remains indistinguishable.
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