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'DUNE: PROPHECY' DIDN'T USE THE VOLUME

By Chris McPherson
Published Jan 15, 2024


The series' cinematographer Pierre Gill details how 'Dune: Prophecy' will use
practical sets, versus the Volume.

Image by Zanda Rice


THE BIG PICTURE

 * Dune: Prophecy , the upcoming Dune spin-off series, did not use volume
   technology for its immersive backgrounds.
 * Cinematographer Pierre Gill prefers stories that value humanity over
   spectacle, citing films like E.T. and The Green Mile as references.
 * Post-production for Dune: Prophecy will take about a year, and the series is
   expected to be released in Fall 2024.

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Originally titled Dune: The Sisterhood, the series now known as Dune: Prophecy
has been quietly filming since November 2022, after putting together an
outstanding cast including the likes of Emily Watson, Olivia Williams, Mark
Strong, Travis Fimmel, Sarah-Sofie Boussnina, Shalom Brune-Franklin, Faoileann
Cunningham, Aoife Hinds, and Chloe Lea. The show is a prequel story set in a
Dune universe completely separate from Denis Villeneuve's films, and Pierre
Gill, one of the people working on it as the lead cinematographer on the
project, has been opening up on his work with the prequel series.



Speaking to Collider's Chase Hutchinson while promoting his work on Percy
Jackson and the Olympians, the new Disney+ series, Gill revealed that he had
also completed his time on the upcoming Dune series, and gave an insight into
what fans could expect the show to look like. Notably, Gill said that there was
no 'volume' use on the series, unlike many other big-budget shows of the past
few years.

For those unaware, volume technology involves the use of large LED screens to
create immersive and interactive backgrounds. Large LED screens form a
360-degree enclosure around the set. These screens display high-resolution
images or videos, creating a virtual environment that surrounds the actors and
the physical set, enabling photorealistic environments, real-time rendering of
imagery, and dynamic camera movements, as if shooting on location.



> "No we didn't use any. I was open to it because now I have so much more
> experience with it that I was like, "I am ready for the Volume!" There is a
> use for it on a lot of productions, for sure, but to use Volume, you need to
> have a specific plan on what you want to achieve with it because it's
> expensive. The thing with Dune: Prophecy is that we didn't use a volume
> because there was no need for it as most sets were built and we could achieve
> the visuals without it. It was a huge build, so it's very different."


PIERRE GILL VALUES HUMANITY IN HIS CINEMATOGRAPHY

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When asked by Hutchinson if his work on Percy Jackson had given him any
transferrable skills, due to the links between the series—based on beloved
books, both set in fantastical worlds—Gill explained that he always values
humanity when approaching a new story. Films that take those who couldn't be
more different and bring them together have proven to be a major inspiration for
Gill's work, as he elaborated:



> "I like stories that have strong human value or human connections or human
> relationships, so that's one reason why I liked the script of Percy, because
> it was not just a kid show. It was a story with good lines, good dialogue, and
> good relationships, and I was like, “It's cool because we can build that.” And
> one of my very strange references when I got the interview, because I make a
> mood board every time of the book, and I always like five movie posters, and
> one of them was E.T. [ the Extra-Terrestrial ], of course, for the youth and
> all that, one of them was, I think, Lord of the Rings , of course, for the
> school, but one of them was The Green Mile ."



He continued on to say, "The producers were surprised and asked "Why did you
come up with The Green Mile?" And I said, “Well, because it's the best movie
about differentiation.” You have two characters that you cannot have more
opposite—the white security guard and the Black prisoner. But it's not about the
race, it's about the job. It's about many things that separate them completely
apart, but brings them completely together. So, I don't know, for me, I was
like, “This is the example that I can give to this.”




'DUNE: PROPHECY' FINISHED SHOOTING IN DECEMBER

Expanding, Gill noted that while he couldn't talk in any great detail about
Dune, given its secrecy, he did admit that the scale of the project, with its
budget, ambition, and scope, left him feeling like a kid in a candy store. He
explained, "So yes, I like the projects with that type of story. Again, I cannot
talk about Dune, but yes, of course, because there's books and we know that
there's a lot of relationships between families and stuff like that, which is
great. The thing I love with those projects in a way, which is very strange, I
really like when it's very complicated to shoot something very big. I'm not
afraid of big, and it's very hard because you need a lot of experience to do
that." He went on to say:



> "I started very young, but as soon as it was big I felt good. I have to learn
> it, but now I have a lot. I feel very, very confident. And, too, because you
> get in a studio that is humongous, and you have to figure out something that
> does not exist, meaning a lighting set-up, a schedule, a time, budget, and
> complex shots — the technical aspects of it. So I like when all these elements
> are together because of the experience I have, I guess, and because it thrills
> me. And at the same time, I did a series there in Quebec which had no budget,
> all handheld, wide lens, and just following the characters with natural light,
> and I loved it because it was a good project. So, yeah, of course, it goes
> with the script first. But I love any big project, first of all, because on
> this type of project, like Dune , you're gonna work with the amazing,
> beautiful production design and you're gonna work with these amazing costumes
> and wigs, and then there's gonna be VFX, and there's gonna be rigs and stuff
> like that. So, it's a candy store. "



Lastly, Gill stated that it was his expectation that the show would go quiet for
the next six months while post-production began, adding that it would "take a
year or so" to finish all of the work. "Yeah. I just finished before Christmas.
So, it’s gonna take a year or so, probably. Nobody will hear about it because
it’s gonna be probably in six months or so before they’re gonna start putting
something out, because they're gonna have editing and stuff like that. But
there's a lot of work, music, and VFX to do, and all that, and these are very
long processes to finish, like Percy. Percy we finished shooting in exactly
February last year."

Dune: Prophecy is set to arrive later this year, while Dune: Part Two premieres
March 15, 2024. Until then, you can stream Dune on Max.

Watch Dune on Max




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Related Topics
 * TV News
 * Dune (2021)

About The Author
Chris McPherson (1677 Articles Published)


Chris is a Senior News Writer for Collider. He can be found in an IMAX screen,
with his eyes watering and his ears bleeding for his own pleasure. He joined the
news team in 2022 and accidentally fell upwards into a senior position despite
his best efforts.

For reasons unknown, he enjoys analyzing box office receipts, giant sharks, and
has become known as the go-to man for all things Bosch, Mission:
Impossible and Christopher Nolan in Collider's news division.

He is proficient in sarcasm, wit, Photoshop and working unfeasibly long hours.
Amongst his passions sit the likes of the history of the Walt Disney Company,
the construction of theme parks, steam trains and binge-watching Gilmore
Girls with a coffee that is just hot enough to scald him.

His obsession with the Apple TV+ series Silo is the subject of mockery within
the Senior News channel, while he is concurrently engaged in a brutal blood feud
with Diego Peralta. Only one will be left standing tall. 


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