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.
Recipes
Giedi Prime
Infrared Harkonnen world — inverted light, black sun, marble skin
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
Sandworm Ride
Near-whiteout desert, blown sand, golden chaos
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
Sietch Firelight
Underground amber practicals, Fremen faces in warm shadow
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
Shoot this look
These recipes run on Fujifilm's film-simulation engine — any current X-series body will do. A pairing to start from: