Cinematographer Pierre Gill, known for his stunning work on sci-fi and period pieces, discusses the creative challenges of bringing Dune: Prophecy to life. He dives into the intricacies of lighting in a low-light universe, respecting the aesthetic of Villeneuve's films while infusing his own artistic touch. Pierre shares insights on using dual Steadicams for dynamic action, constructing giant book-light rigs for soft illumination, and the importance of production design in crafting new worlds. His passion for sci-fi as a cousin to historical narratives shines through.
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insights INSIGHT
Sci‑Fi Is A Period Piece At Heart
Pierre Gill compares sci‑fi to period pieces, saying both demand costumes, sets and lighting to sell the world.
He warns sci‑fi lighting must feel grounded, not over‑glittery like some franchises.
question_answer ANECDOTE
Pressure To Honor The Dune Look
Pierre recounts being hired for Dune: Prophecy and asked immediately how he'd approach the look before reading scripts.
He felt pressure to respect Denis Villeneuve's Dune while avoiding copying Greig Fraser exactly.
volunteer_activism ADVICE
Use Centered Composition And Eyelines
Center the camera and use wide strong compositions to create Denis Villeneuve‑style strength and symmetry.
Train actors to hit eyelines at the matte box to preserve that composed, controlled aesthetic.
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Dune: Prophecy, the six-episode prequel series to the Dune films, now streaming on Max, delves into the origins of the Bene Gesserit. The series is set 10,000 years before the events of the movies. Bringing this ancient future to life was just one of the challenges faced by cinematographer Pierre Gill, CSC, a veteran of science fiction and period pieces alike.
Pierre, who has a deep affinity for the sci-fi genre, sees it as a close cousin to historical dramas. “It's like another type of period piece,” he explains, citing the importance of costumes, lighting, and set design in creating an immersive world. His experience in science fiction is extensive, having served as additional and second unit cinematographer on Denis Villeneuve’s Dune, Arrival, and Blade Runner 2049.
This prior experience proved invaluable for Dune: Prophecy. “On Dune: Prophecy, the challenge is there's not really a lot of light source in the concept of the universe,” Pierre notes. The goal was to respect the established aesthetic of Villeneuve's Dune, avoiding an overabundance of typical sci-fi lighting. During his initial interview for the series, Pierre emphasized his understanding of the Dune look, a perspective informed by his work on the first film. He felt the series should align with the films, potentially even enhancing viewers' appreciation of the cinematic universe. However, Pierre was also determined to bring his own artistic vision to the project. “At the same time,” he admits, “it's difficult because as a cinematographer, I don't want to recreate what Greig Fraser, the master, did. I don't want to copy him.”
Pierre's approach for Prophecy involved strong, wide shots with splashes of bold color. After extensive lens and camera testing, Pierre chose to shoot with the Arri Alexa 35. He also used two Steadicams to maximize efficiency during the action-packed shoot. Pierre favored a centered camera, even in close-ups, and faced the significant hurdle of lighting the massive sets. Time constraints limited pre-lighting opportunities, forcing Pierre to find innovative solutions. He employed mobile softboxes and book lighting to sculpt the actors' faces, creating soft bounce light. The presence of ceilings on some of the sets allowed for lower camera angles and the inclusion of more background detail. He was also able to use many practical lighting sources throughout the set.
Dune: Prophecy has been picked up for a second season and Pierre is excited to explore the Dune universe further. “Season 2 will be even more powerful, I think,” he predicts.
You can see Dune: Prophecy on Max. https://www.max.com/shows/dune-prophecy-2024/57660b16-a32a-476f-89da-3302ac379e91
Find Pierre Gill: Instagram @pierregill_dp
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