**Exploring the Visual Mastery of *Dune: Prophecy*: An Interview with Chief Cinematographer Pierre Gill**
Director Denis Villeneuve’s *Dune* adaptations have enchanted viewers with their grand narratives and stunning visual artistry. Following this achievement, HBO’s prequel series, *Dune: Prophecy*, has established its own niche within the *Dune* universe, delving into the beginnings of the Bene Gesserit sisterhood. With its complex political dynamics, engaging characters, and remarkable visual aesthetics, the series has garnered a renewal for a second season, much to the joy of its audience. At the core of its visual excellence is lead cinematographer Pierre Gill, whose skills have contributed to crafting a unique yet familiar visual style that honors Villeneuve’s films while forging its separate identity.
In an exclusive discussion with Ars Technica, Pierre Gill offered perspectives on the hurdles and victories of developing the visual narrative of *Dune: Prophecy*. From illuminating expansive constructed sets to creating practical effects, Gill’s contributions exemplify the artistry and technical prowess needed to bring Frank Herbert’s world to fruition.
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### **A Purposeful Prequel**
Taking place 10,000 years before Paul Atreides’ ascendancy, *Dune: Prophecy* draws from *Sisterhood of Dune* authored by Brian Herbert and Kevin J. Anderson. The series follows two Harkonnen sisters, Valya (Emily Watson) and Tula (Reverend Mother), as they maneuver through political complications and existential dangers to form the Bene Gesserit sisterhood. The expansive storyline traverses various worlds, each exhibiting its unique visual characteristics.
Gill highlighted the necessity of preserving continuity with Villeneuve’s films while ensuring the series had its own footing. “It’s set 10,000 years before, so it could have appeared significantly different,” Gill articulated. “However, viewers crave *Dune* because they admire Denis Villeneuve’s film. We maintained close ties to the film’s aesthetic so that the audience could follow the narrative seamlessly.”
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### **Creating Unique Visual Realms**
One of Gill’s key challenges was to establish distinct color schemes and lighting designs for the multitude of settings within the series. For instance, Salusa Secundus, the abode of the emperor, was enveloped in warm, sandy shades, whereas Wallach IX, the Sisterhood’s residence, featured cooler, gray tones. These artistic choices helped to set the worlds apart while preserving a unified style.
“The sets were predominantly monochromatic,” Gill pointed out. “I opted to illuminate one world in a cooler fashion and the other in warmer shades. For Salusa Secundus, I aimed to capture harsh sunlight, in contrast to Wallach IX, which had a softer, diffused appearance.”
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### **The Challenges of Large Sets**
In contrast to many contemporary productions that heavily utilize green screens, *Dune: Prophecy* filmed around 75% of its footage in-camera, making use of vast, intricately crafted sets. This method added a layer of authenticity to the series but also presented significant challenges for Gill and his crew.
“The sets were enormous, and a significant portion of what you see is in-camera,” Gill remarked. “For wide shots, we implemented set extensions, but the throne room, the Sisterhood’s library, and other vital locations were all tangible. This made the lighting more intricate yet ultimately more fulfilling.”
One particularly difficult set was the prison where Desmond Hart (Travis Fimmel) was suspended in a circular cell. “We had only a foot of space to light the floor,” Gill remembered. “It was exceptionally tricky, but we succeeded in creating a striking visual effect.”
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### **Creative Lighting Approaches**
To amplify the series’ visual appeal, Gill collaborated closely with production designer Tom Meyer on practical lighting innovations. For the throne room, they designed custom chandeliers featuring layered LED lights that illuminated both the room and its walls. These fixtures not only deepened the scenes but also became essential to the series’ visual design.
“I requested the production designer to incorporate practical lighting into the sets,” Gill explained. “For instance, in the throne room, we used glass spheres containing concealed LED lights to produce a warm, ambient glow. These practical lights allowed us to illuminate scenes promptly without compromising quality.”
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### **Steering Clear of the “Too Dark” Trend**
A notable aspect of *Dune: Prophecy* is its treatment of nighttime scenes. Diverging from the choice of near-black visuals favored by many recent productions, Gill ensured that night sequences were adequately lit and visually captivating.
“I dislike when it’s completely dark,” Gill expressed. “To me, night is about silhouettes and shaping the space. I focused on making sure that even in vast, dimly lit areas such as the throne room, there was sufficient light to guide the viewer’s gaze and sustain the atmosphere of the scene.”
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### **Unforgettable Scenes**
One of Gill’s most cherished scenes featured the young sisters chanting around a
