Greig Fraser pushed his visual language for Dune even further in Part Two, most dramatically with the Giedi Prime sequences shot entirely through infrared-modified cameras. The Harkonnen homeworld is rendered in stark black and white where the sun itself appears as a black disc — skin becomes marble, shadows invert, the familiar becomes alien without any digital manipulation. The Arrakis sequences continue the ochre warmth of Part One but with more extremes: the sandworm riding scenes are shot in near-whiteout conditions, while the Sietch interiors use firelight and amber practicals. The southern desert battle scenes push the warm palette to its breaking point. For Fujifilm, the Harkonnen look is best approximated through Eterna Bleach Bypass with maximum desaturation, while Arrakis deepens the Classic Chrome recipe from Part One.
The Dune: Part Two look, scene by scene
Dune: Part Two has three clearly separated worlds: the blinding desert of Arrakis, the black-and-white Harkonnen planet Giedi Prime, and the warm, firelit caves of the Fremen. Each world has its own light — and its own recipe.
Giedi Prime
Shot with infrared, it looks almost black and white: pale skin, black sky, extreme contrast. Strange and inhuman.
The Harkonnen scenes were shot with infrared, which makes skin pale and skies black. A recipe can approximate the high-contrast, colourless feel, but for the real effect you'd need an infrared-converted camera.
Recipes
Giedi Prime
Infrared Harkonnen world — inverted light, black sun, marble skin
Best light: Hard, direct sun with strong shadows. Doesn't work in soft or warm light.
Film SimulationEterna Bleach Bypass
GrainOff
Color ChromeOff
CC FX BlueOff
White BalanceDaylight
WB ShiftR+0 / B+0
Dynamic RangeDR200
Highlight+2
Shadow-2
Color-4
Sharpness+2
Noise Reduction+0
Clarity+3
ISOISO 200-400
Why these settings
Eterna Bleach Bypass, Color -4
Removes almost all colour for a near-monochrome look.
Highlight +2, Shadow -2
Bright, harsh highlights for a strange, overexposed feel.
Clarity +3, Sharpness +2
Hard, crisp detail for a clinical, alien look.
Sandworm Ride
Near-whiteout desert, blown sand, golden chaos
Best light: Sand, dust or haze in strong sun. Looks overdone in clean, clear air.
Film SimulationClassic Chrome
GrainWeak/Large
Color ChromeWeak
CC FX BlueOff
White BalanceShade
WB ShiftR+4 / B-3
Dynamic RangeDR400
Highlight-2
Shadow+2
Color-1
Sharpness-2
Noise Reduction-3
Clarity-2
ISOISO 400-800
Why these settings
Shade WB, R+4 / B-3
Pushes the whole scene towards golden orange.
DR400, Highlight -2
Keeps bright sand and sky from clipping completely.
Clarity -2, Color -1
Softens detail and colour to imitate dust in the air.
Sietch Firelight
Underground amber practicals, Fremen faces in warm shadow
Best light: Warm lamps or fire in dark spaces. Too warm for daylight.
Film SimulationNostalgic Neg
GrainWeak/Small
Color ChromeStrong
CC FX BlueOff
White BalanceIncandescent
WB ShiftR+3 / B-3
Dynamic RangeDR200
Highlight-1
Shadow+3
Color+0
Sharpness-1
Noise Reduction-3
Clarity-1
ISOISO 1600-3200
Why these settings
Nostalgic Neg, Incandescent WB, R+3 / B-3
Rich amber tones for firelit faces.
Shadow +3
Deep shadows around the light.
Color Chrome Effect Strong
Depth in warm tones so skin doesn't turn flat orange.
Kit list
Dune: Part Two · 2024 · DP Greig Fraser
The recipe handles colour and tone. These handle what a recipe can't.
For this look
desaturated & gritty
K&F Concept variable ND2–ND400
Shoot wide open or drag the shutter in harsh daylight — motion blur and shallow focus give the handheld, unpolished texture.
Buy the thread size of your lens — the ⌀ number printed on the barrel or cap.
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Did you nail the look? What to look for
Each image clearly belongs to one world: desert, cave or monochrome
Desert scenes feel hot and hazy
Monochrome scenes have very high contrast
Caves are warm with deep shadows
Large scale — small people in big spaces
Dune: Part Two recipes — FAQ
Which Fujifilm film simulation is best for a Dune: Part Two look?
Classic Chrome for the desert, Nostalgic Neg for the caves and Eterna Bleach Bypass for the stark Giedi Prime scenes.
How did Dune: Part Two get the black-and-white Harkonnen look?
The Giedi Prime scenes were shot with infrared photography, which renders skin pale and skies dark.
Which Fujifilm cameras can use these recipes?
All settings work on current X-Trans V bodies such as the X-T5, X-S20, X-T50 and X100VI. Nostalgic Neg needs an X-Trans V camera (or the X-H2/X-H2S); on an X-T4, X-S10 or X100V, Classic Neg is the closest substitute. Every body renders slightly differently, so take a few test shots and adjust.
Who was the cinematographer of Dune: Part Two?
Greig Fraser, who won the Academy Award for Best Cinematography for the first Dune. Denis Villeneuve directed both films.