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1Fix the driver behind crashes, sound loss and screen glitches2Repair Windows errors before they cause bigger problems3Scan for outdated or missing drivers - takes under a minuteDune: Part Two’s black-and-white Giedi Prime exteriors were captured with infrared-sensitive cameras—not simply made by desaturating ordinary color footage. Cinematographer Greig Fraser’s team modified Alexa cameras to record infrared while blocking most visible light, creating the stark, alien look of a sun that seemed to erase color.
How did the cameras create the infrared image?
Ordinary cameras contain a filter that blocks infrared so it does not interfere with color images. For the Giedi Prime exteriors, Fraser’s team removed that built-in filter and placed a filter in front of the lens to block most visible light. The cameras therefore recorded infrared reflected from people and objects rather than the familiar visible colors they would normally capture. The footage was monitored and finished in monochrome. Fraser told ABC News, “So in that scene we’re seeing a sun that emits only infrared and no visible light.”
Cinematography World reported that the production modified regular Alexa cameras because native monochrome Alexa cameras capable of seeing infrared were available only in limited numbers. The modified cameras served as the main cameras for Giedi Prime, building on a technique Fraser’s team had used for visual-effects cameras.
Infrared capture versus ordinary black-and-white
Desaturating visible-light footage removes its color information after capture. Infrared photography changes what the camera records in the first place: materials reflect infrared differently from visible light, so they can become unexpected shades when rendered in monochrome. The result is not a straightforward grayscale version of what the human eye saw on set.
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Why use infrared for Giedi Prime?
Director Denis Villeneuve wanted the Harkonnen home world to feel as if its sunlight destroyed color, reinforcing his vision of an industrial, politically fascist society. The filmmakers tested different black-and-white approaches before settling on infrared. Villeneuve described his goal to Variety: “I would love to find an alien black and white. I would love to feel that it’s coming from another sun, from another reality.”
The technique also altered how bodies and costumes appeared. Villeneuve said veins could show through skin and eyes could look sharp and dark. Clothing colors did not translate predictably, either: he said black pants could appear white and a shirt gray, prompting the team to redo costumes after testing the infrared look.
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Where was the arena filmed, and how did daylight affect the shoot?
The arena exteriors were filmed outdoors between two stages at Origo Studios in Budapest. The location included both sunlit and shaded areas. Fraser explained in an interview with Filmmaker Magazine that shooting only in direct sun would have confined the work to a short part of the day. Instead, the crew scheduled shots around which sections of the set were in sun or shade. That meant managing the scene’s lighting continuity in pieces rather than filming in story order.
What made the infrared action difficult to shoot?
Focus had to be recalibrated
Infrared focuses differently from visible light, so the lens’s ordinary focus markings could not be trusted. Fraser said the focus puller prepared new focus points for the lenses. On the stereoscopic 3D rig, even a small shift could change focus—an added complication during a moving fight.
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Infrared light in darkness was not the answer
The crew tested infrared security lights in a dark studio. Fraser said the lights looked bright to the camera while the space appeared dark to the actors, but the resulting image was weaker and staging a fight in darkness was difficult. For the intended look and action, bright sunlight worked better.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Was the arena image a double exposure?
Not in the sense suggested by a separate exhibition photograph. At a 2025 exhibition, TheWrap asked Fraser about a photograph of the gladiatorial scene. He described that particular image as “Just black-and-white” and a double exposure with a grainy, peeling-emulsion look. That comment referred to the exhibition photograph; interviews about the film’s Giedi Prime exteriors describe infrared cinematography. The photograph is not evidence that the movie sequence was made only through double exposure.
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