{"id":11560,"date":"2021-10-25T12:48:20","date_gmt":"2021-10-25T19:48:20","guid":{"rendered":"https:\/\/www.icgmagazine.com\/web\/?p=11560"},"modified":"2021-10-25T12:50:31","modified_gmt":"2021-10-25T19:50:31","slug":"climate-change","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/climate-change\/","title":{"rendered":"Climate Change"},"content":{"rendered":"

Greig Fraser, ACS, ASC, explores dark new worlds for Denis Villeneuve’s newest incarnation of Frank Herbert’s celebrated novel, Dune<\/em>.\u00a0<\/span><\/span><\/p>\n

by Kevin H. Martin \/ Photos by Chiabella James \/ Warner Bros. Pictures<\/span><\/span><\/p>\n

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Classics of sci-fi literature have proven to be challenging source<\/strong> material when it comes to film adaptations. In the case of Frank Herbert\u2019s Dune<\/em>, an interplanetary adventure that delved into nascent ecological concerns while offering a study of Messiahdom, the 1965 novel drew considerable Hollywood interest, fueled further by the pop-culture fervor for Herbert\u2019s sequels. After false starts with some notable filmmakers, the project fell to David Lynch. Released in 1984, the visually striking adaptation (shot by Freddie Francis, BSC) failed to thrill movie audiences or Herbert devotees. A 2001 miniseries (shot by Vittorio Storaro, ASC, AIC), while more faithful to the novel, suffered from budgetary considerations that kept it largely stagebound.<\/p>\n

Denis Villeneuve, a fan of the book since his teens, eagerly seized the reins for this new incarnation, which covers roughly the first half of the novel. Villeneuve re-teamed with several past collaborators, including Editor Joe Walker, Production Designer Patrice Vermette, Special Effects Supervisor Gerd Nefzer and VFX Supervisor Paul Lambert. Joining them was Oscar-nominee Greig Fraser, ACS, ASC, who had filmed his share of desert worlds for Disney\u2019s The Mandalorian<\/em> [ICG Magazine April 2020]<\/a>, though those employed virtual production instead of the extensive location work utilized for Dune. <\/em><\/p>\n

\u201cThrough CG, worlds can be created infinitely large in scale, but we always tried to look for the best ways to service the story,\u201d Fraser relates, \u201cThe novel by its very nature was a complex beast, one that caused problems with past attempts to make Dune<\/em>, along with the variety of environments mandated.\u201d<\/p>\n

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Greig Fraser, ACS, ASC, used VR to capture desert landscapes for Disney’s\u00a0The Mandalorian <\/i>[ICG Magazine\u00a0April 2020] unlike Dune’s spectacular real locations (above).\u00a0\u201cWith CG, worlds can be created infinitely large in scale, but [for Dune<\/em>] we always tried to look for the best ways to service the story,\u201d Fraser shares.<\/figcaption><\/figure>\n

Fraser says he was impressed by the results achieved<\/strong> from the Villeneuve\/Vermette team-up for Arrival<\/em> (shot by Bradford Young, ASC) on a relatively modest budget. For Dune<\/em>, Vermette enjoyed a lengthy prep that enabled him to work out the visual details of the many planets and vessels as well as the lifeforms populating them. \u201cDenis offers his collaborators freedom in making their contributions, so there\u2019s never a feeling of constraint when it comes to voicing an idea,\u201d Vermette explains. \u201cAfter I showed him some early material based on the script draft, he shared some of his scribbles, and it was clear we were on the same page, architecturally speaking. We were both striving to achieve a feeling with our imagery, something like Richard Avedon\u2019s black-and-white photography inspires in a viewer.\u201d<\/p>\n

In fact, a full seven months were spent on conceptual artwork. \u201cWe start with a sketch and then a 3D model,\u201d Vermette continues. \u201cEven in wireframe form, I\u2019m already asking where the light is coming from. With the model, it is easy to zoom-in to view details. I also orbit around the model to find interesting angles, which is going to be significant on set later, since everybody can see which angles look best and plan accordingly.\u201d<\/p>\n

Early concept art revealed the differences between the harsh desert dune world of Arrakis and Caladan, home planet to the Atreides clan, including young Paul (Timoth\u00e9e Chalamet.) \u201cPortraying differences in culture is achieved through economics and landscapes,\u201d Vermette adds. \u201cCaladan is a blue and green world, a planet of water and island cliffsides, where there is always mist.\u201d Vermette\u2019s architecture for the city of Arrakeen is designed to look as though the structures could withstand 800 km\/hour winds. Somewhat utilitarian in appearance, the city buildings were inspired to a degree by the look of WWII bunkers \u2013 about as removed from the moist comfort of Caladan as one could imagine.<\/p>\n

\u201cNormally the artwork is used to get the conversation going,\u201d Fraser describes. \u201cBut this was so precise and wonderful that my main challenge was to honor those designs and intentions. I took massive inspiration for the lighting from the conceptual art, attempting to recreate what was on paper in a way that would be achievable on set.\u201d<\/p>\n

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During an extensive prep period, Production Designer Patrice Vermette used 3D models to establish light sources, and find interesting angles, “which is going to be significant on set later, since everybody can see which angles look best and plan accordingly.”<\/figcaption><\/figure>\n

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The level of preplanning allowed department heads,<\/strong> including Nefzer, to organize teams with great efficiency. \u201cIf there isn\u2019t enough prep time, you inevitably face compromises, and often things won\u2019t work as well as when you have time to plan things out,\u201d he says. \u201cBut with Denis, everybody knows what is needed well in advance of shooting. That\u2019s not to say he doesn\u2019t have on-set inspirations; but I had an on-set crew taking care of everyday work, in addition to specialist groups handling flying rigs and pyro, so if Denis decides to add steam or drifting dust to a scene, we can often devise an on-the-spot practical solution. And there\u2019s always the option to handle it later through visual effects.\u201d<\/p>\n

VFX supervisor Paul Lambert, who shared an Oscar with Nefzer for Villeneuve\u2019s Blade Runner 2049<\/em> [ICG Magazine October 2017]<\/a>, agrees with Fraser about the usefulness of comprehensive artwork. \u201cMy collaboration with Greig was one of the most critical associations on this film,\u201d he states. \u201cSince we knew what the background would be and how the lighting was going to bake in, we met every day during preproduction to produce some inspired ideas. For example, we put a sand-colored screen on our backlot in Budapest. Everything on the planet was going to be that color, so our light hitting the screen would reflect an appropriate hue, instead of blue or green screen where you\u2019ve got the wrong values. By inverting the sand screen in post, Double Negative could still do matte extractions, as the sand-colored screens effectively became blue-colored screens but without the limitations of having shot blue screen on set.\u201d<\/p>\n

Fraser\u2019s camera testing ranged from 35- and 65-mm film to the large-format ALEXA 65. Fotokem DI Colorist Dave Cole remembers that \u201cthe grit and sand seemed rife with problems for shooting 65 millimeter. We thought 35 millimeterwould win out, but for desert scenes, the stock was too grainy, given we intended to do a lot of IMAX work.\u201d (Along with Top Gun: Maverick<\/em>, Dune <\/em>was among the first films to shoot with IMAX certification.)<\/p>\n

Other factors mitigated against celluloid. \u201cFor Denis, film felt too nostalgic, almost like telling the story while in the past, and this story is set in the future,\u201d Fraser notes. \u201cI\u2019ve shot ALEXA since Zero Dark Thirty<\/em>, so we went with the LF and Mini, which responded well in both extremes of climate: the desert scenes shot in Jordan and Abu Dhabi as well as the very wet Norway shoot for Caladan. The LF also let me go up to ASA 2000 without any noise issues.\u201d Camera prep was at Panavision Woodland Hills, where Dan Sasaki performed his typical wonders in refining lenses to fit production\u2019s needs. Panavision H-series and Ultra Vista lenses were used on both ALEXAs throughout.<\/p>\n

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VFX Supervisor Paul Lambert describes his work with Fraser as one of the most critical associations on the film. “Since we knew what the background would be and how the lighting was going to bake in, we met every day during preproduction to produce some inspired ideas,” Lambert recalls. \/ Framegrab Courtesy of Warner Bros Pictures<\/figcaption><\/figure>\n

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Given the title planet\u2019s arid conditions, the filmmakers<\/strong> avoided saturated colors and a classic blue sky\/yellow soil palette. \u201cDenis wanted a bleached-out look, so Dave built us a LUT that gave us a white-sky desert,\u201d Fraser elaborates. \u201cWe tried a straight bleach bypass, but that was too much like Jarhead<\/em> [shot by Roger Deakins, ASC, BSC], which wasn\u2019t quite where we wanted to be.\u201d<\/p>\n

Cole recalls that Fraser came up with a still image that all parties accepted as a look for the desert, one using highlights from the bleach-bypass LUT, combined with a different look in the shadows. \u201cOur modified skip-bleach look\u2019s customization was done to keep the low end from getting too contrasty. If you\u2019re on the driest planet in the universe, unprotected, you will die \u2013 and quickly, before there\u2019s a chance to run into sandworm creatures or anything else.\u201d Interiors used a separate LUT. \u201cThe day interiors are lit by sunlight pouring in through massive slits. As a viewer, you will \u2018iris open\u2019 on these interiors, but then upon cutting outside, you again feel the burn and heat of the ferocious sun on this bleak planet.\u201d<\/p>\n

While VFX would create set extensions to extend vast interiors, the art department helped Fraser by creating volumes on set that suggested what was to be added later. \u201cWe built these pieces in appropriate colors from flat fabric that Greig could light through,\u201d Vermette describes. \u201cIf there were supposed to be beams extending up out of frame, we built those from fabric as well, to create a light\/shadow aspect. This element would still need to be clad in post, but if the camera tilted up, it would again see correct color and texture.\u201d<\/p>\n

Fraser cites the ingenious design of the Budapest stages, which were built out of concrete, with speedrail rigging extending to their exteriors. \u201cThat is what allowed us to build this outdoor stage,\u201d he explains, \u201cwhich was like a huge silo, topped with a star-shaped gobo that let us light with the actual sun. We could never have found a big enough light to illuminate down to the floor. My assistant, Nicholas Turner, and I had done light studies so we knew when the sun would be in the right position to achieve this series of shots. We scaled it so the amount of sunlight admitted matched what the theoretical ceiling would be, at 200 feet in height, even though ours was only 40 feet above the ground.\u201d<\/p>\n

Ideally, Fraser adds, the gobo would have been a proper rigid structure. \u201cBut there was no infrastructure to achieve such scale,\u201d he continues. \u201cInstead, the Budapest riggers used lines so it could be let out like a sail. The wind was a problem, but we were able to keep it taut most of the time. To succeed, the gobo required successful collaboration between the art and electrical departments.\u201d Transforming the Origo Film Studios backlot into a match for the deep desert required an exhaustive search for the proper shade of reddish-brown Jordanian dust that was also safe for cast and crew.<\/p>\n

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Fotokem colorist David Cole built a LUT for the desert that used highlights from a bleach-bypass LUT, combined with a different look in the shadows. As Cole explains: \u201cOur modified skip-bleach look\u2019s customization was done to keep the low end from getting too contrasty.”.<\/figcaption><\/figure>\n

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Save for the large-scale action scenes, Dune <\/em>was primarily<\/strong> shot single camera. \u201cThere\u2019s virtually nothing in the way of unmotivated camera movement,\u201d Fraser shares. \u201cAll of the camera motion is quite considered, so we\u2019re moving with the characters as they proceed through their environment.\u201d Fraser operated A-camera himself, often using a \u201cfantastic\u201d KFD Aurora remote head that let him sit beside Villeneuve during scenes.<\/p>\n

Camera Operator\/Steadicam Operator Bela Trutz, SOC, came on during the Jordan shoot. \u201cOn location, lots of the sequences were handheld, as well as many with crane and dolly,\u201d Trutz recalls.\u00a0\u201cThe few times on Steadicam were a challenge using the ALEXA LT studio body, but doable. The second unit was more like a splinter, shooting sequences at different times of the day for the best lighting setup, [and] I did join them on a couple of occasions.\u201d<\/p>\n

Second unit Director of Photography Katelin Arizmendi\u2019s credits reflect her experience in the indie sector [ICG Magazine January 2020]<\/a>, and she readily admits, \u201cI didn\u2019t know much about second unit, though the idea of working closely with Greig and Denis to ensure the shoot stayed cohesive throughout was appealing. Greig gave me a lot of freedom to go after whatever looked interesting when shooting pickups.\u201d<\/p>\n

One example was \u201cover the Duke\u2019s back that could be done using a body double,\u201d Arizmendi describes, \u201cand Denis wanted to capture a unique refracted light coming through the window. We got to spend six hours breaking mirrors and cutting up weird gels to get this unusual light spilling in and across the wall. Then I got to shoot some 16-millimeter footage while in Jordan. Paul views a documentary about Arrakis, and my stuff \u2013 mostly long-lens views of Fremen in the desert \u2013 after being pushed two stops, was used as the projected image.\u201d<\/p>\n

Arizmendi says there was previsualization for scenes featuring VFX and crowds, \u201cand enhancing explosion scenes was a lot of fun for me and my gaffer. Using [Chroma-Q] Studio Forces and a dimmer board let us refine interactivity motivated by the blasts. There were huge softboxes up above when pyro was involved, so we could dial everything up and allow the explosions to expose correctly instead of blowing out the image.\u201d<\/p>\n

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Fraser (above) who operated A-camera via remote head that let him sit beside Villeneuve, says that save for the large-scale action scenes, Dune<\/em> was primarily shot single camera. \u201cThere\u2019s virtually nothing in the way of unmotivated camera movement,\u201d Fraser explains.<\/figcaption><\/figure>\n

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Shots of the aerial craft [mock-up] blowing up were reset for multiple<\/strong> explosions, because, as Nefzer describes, \u201cwe created fireballs instead of blowing the ships up for real, and then the ships were added in CG. We did some blasts on the ground, with others up on scaffolds as if the ships were flying by and could reset quickly for additional takes.\u201d<\/p>\n

Nefzer faced an elaborate challenge for a scene when Paul and his mother Jessica (Rebecca Ferguson) crash-land in the deep desert, just before their close encounters with a huge sandworm and Fremen natives. \u201cWe built a special sled rig because Denis wanted to see the approach and impact from within the cockpit,\u201d Nefzer continues. \u201cThe challenge with towing this thing through impact was that real sand would be too heavy, so we used a kind of wheat called spelt<\/em>. We put a plow with steel sheets on the ship\u2019s front that guided the spelt dust over the cockpit. We had seventy meters to get up to speed \u2013 50 to 60 kilometers per hour for the crash, and the ship, after leaving our sled, traveled 150 feet through our sandpit.\u201d<\/p>\n

Other full-sized mockups, built in the U.K. and disassembled and shipped to the location, were also facilitated by Nefzer and BGI. A combination of gimbals and cranes allowed the craft \u2013 \u201cornithopters\u201d in Dune vernacular \u2013 to move on multiple axes, and a landing ramp was made practical through hydraulics. Fraser, a recent convert to RGB LED tech, relied extensively on Digital Sputniks and Creamsource units to create \u201cheadlights\u201d for aircraft.<\/p>\n

\u201cBeing able to refine color on-stage instead of just in the grade is very helpful,\u201d Fraser notes. \u201cWe could put them on scaffolding or hang them off cranes; the arrival of Reverend Mother (Charlotte Rampling) was a moment we wanted to dramatize with lighting emanating from her ship, which was achieved with Sputniks.\u201d<\/p>\n

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Aerial DP Dylan Goss called Fraser’s dailies memorable, in the best sense of the word. \u201cGreig’s choices were so daring, with respect to the number of inky blacks and also the use of short-focus,” Goss informs. “We wanted to be in that world with Greig visually, so we used heavy ND and his regular prime focal lengths.\u201d<\/figcaption><\/figure>\n

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The other flying component fell to Aerial Director of Photography Dylan Goss,<\/strong> a veteran of two past Villeneuve films. \u201cGreig\u2019s dailies were truly memorable, in the best sense of the word,\u201d Goss recounts. \u201cHis choices were so daring, with respect to the number of inky blacks and also the use of short-focus. We wanted to be in that same world with him visually, so we used heavy ND and Greig\u2019s regular prime focal lengths.\u201d<\/p>\n

Working with aerial coordinator Cliff Fleming and camera tech Eric Dvorsky, who saw to the K1 Shotover system provided by Team5 Aerial Systems, Goss flew a military helicopter in Jordan (private aircraft are not permitted), often using the same technique employed on Blade Runner 2049<\/em>, where he shot copter-to-copter for scenes that would later have VFX ships replacing the practical aircraft.<\/p>\n

As Goss describes the challenging workflow: \u201cWhen the instruction is that you follow a ship swooping by and darting down, it\u2019s pretty hard to figure out where to shoot and for how long if you just have an empty frame. Our proxies were MD-500s, small five-bladed copters that already look a little like insects, and a lot like the film\u2019s ornithopters. We spent some time building lighting rigs with cross beams on the proxy, which is a great in-camera way to get the right interactives; you\u2019d see the mushrooming dust effect during a descent.\u201d<\/p>\n

Besides working to a shot list, Goss would occasionally get \u201cfree mission\u201d days. \u201cThat meant I could go off and hunt stuff, a liberty afforded me by Denis\u2019 faith,\u201d Goss emphasizes. \u201cHe liked some unique formations we happened over \u2013 in those desert canyons, there were formations thousands of meters high, actual monoliths.\u201d There was also a multi-camera array assembled and flown when shooting in Abu Dhabi, facilitating background imagery for cockpit scenes, operated through a Semote wireless camera menu control.<\/p>\n

After an abortive attempt to shoot Norway-for-Caladan during an unusually warm summer, Goss returned in fall. \u201cIn terms of embracing atmospherics, the \u2018put your money where your mouth is\u2019 moment came in Norway,\u201d he declares. \u201cCaladan is extremely verdant, so it was more than just filming water \u2013 we needed to feel a constant surrounding mist as well as rain. So, we flew with a rain spinner on the K1 \u2013 water with a side of water!\u201d<\/p>\n

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One innovation (which first occurred to Fraser while shooting Vice \u2013\u00a0<\/em>ICG Magazine December 2018) and done after the DI was to\u00a0“spin the final out to film before scanning neg back in,\u201d he recalls. \u201cThe idea was to get back some of the intrinsic beauty of film, specifically its contrast range and how it exposes highlights.”<\/figcaption><\/figure>\n

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While in-camera was always the goal, Dune <\/em>still relied upon<\/strong> extensive VFX, which were based on live-action aspects whenever possible. One example is when Paul is pursued by a hunter-seeker device sent to eliminate him and hides within a holograph of vegetation.<\/p>\n

\u201cWe devised a technique that allowed us to track the actor on set,\u201d Lambert recalls. \u201cKnowing where he would be in the physical space, we used a projector to put a slice of this holographic bush onto him. The projector updated that image with each subsequent frame as he walked through it. Projecting real lighting onto Paul worked out well, and while there were CG aspects to the shot, the lighting and interaction were real and integrated perfectly.\u201d<\/p>\n

What would Dune <\/em>be without the planet\u2019s most famous inhabitants, the huge sandworms living in the ground? \u201cThere isn\u2019t much existing reference for things that big disturbing sand,\u201d Lambert admits. \u201cI did request that Production detonate some explosions in the desert to get a real-life reference but given that we were shooting in the Middle East, that kind of thing could be mistaken for an attack and was frowned upon!\u201d Consequently, procedurally based simulations were used to generate the wake of the worm and much of its interactions.<\/p>\n

Once the film was in post, Fraser cut together a color bible with the assistant editor, including a wide and close view from each scene. \u201cThat ensured we wouldn\u2019t need to make a lot of changes in the final grade,\u201d he states. Cole had done the majority of his past work on Lustre but here used Da Vinci\u2019s Resolve. \u201cWe include Arrakis\u2019 two moons in the sky,\u201d Cole notes, \u201cwhich are small, but in some night scenes, they register sufficiently that you will see multiple shadows. A lot of the end of the movie takes place in dark conditions, but you can still see everything. There was intense rotoscoping needed to ensure you could see eyes and faces. We rode a very fine line between pre-dawn darkness and the point after the sun rises. It\u2019s not a sci-fi lit thing, with lurid neon, but instead, like just about everything on this, was very well thought-out, like the changes in aspect ratio; something over half of the movie is 1.43, including the whole last stretch of the movie.\u201d<\/p>\n

There was one new step added to postproduction, an innovation that first occurred to Fraser while shooting Vice<\/em>. \u201cI thought that after the DI, we could spin the final out to film before scanning neg back in,\u201d he says. \u201cThe idea was to see if that got us back some of the intrinsic beauty of film, specifically its contrast range and how it exposes highlights. We discovered that it also served to take the digital edge off the bright sun highlights.\u201d<\/p>\n

Cole and Fraser had tried the approach before on a music video. \u201cWe found shooting to a digital negative that has the exposure level of 1 ASA, like a dupe stock and with the smallest possible amount of grain, was very similar to what true 15-perf, originated-on-film looked like when you put them up on IMAX screens,\u201d the colorist reveals. \u201cIt wasn\u2019t about grain per se<\/em>, but all the aspects that one might describe as film artifacts: interlayer halation, the nonlinearity of density across the frame and even allowing some dust to come through. The weave, blur, and slight density breathing of film \u2013 the latter is something we had tried emulating digitally \u2013 were organic qualities that in the past we did everything possible to mitigate against, but here we were trying to bring them to the fore since they don\u2019t exist in digital. They added a sense of life, especially in the 1:1.43 aspect ratio, and that includes the many VFX shots, which, while they were the best I\u2019ve ever seen, still benefited from this.\u201d<\/p>\n

Posting\u00a0Dune<\/em>\u00a0at FotoKem \u2013 a film lab still prospering in the digital era \u2013 was key to working out those methodologies. \u201cWe\u2019d take it as far along in the DI as possible, then scan out to film and match it back,\u201d Cole adds. \u201cThe negative was not a printing stock. It was a nonprintable digital negative, optimized for this specific process, and used as a data storage device. Scanning it back in afterward used scientific procedural processes to bring the image back into ARRI\u2019s Log-C world. I had to employ the same lookup tables used for the creative DI. This also accounts for all the film quirks, and matches that procedurally; and I\u2019d do a trim pass after that, just for a final polish, the last two percent.\u201d<\/p>\n

In addition to at least one follow-up feature, Villeneuve has a spinoff TV series being developed based on other Herbert material, and Vermette is already enthusiastically developing concepts for Dune, Part 2<\/em>, which will include the material covered in Herbert\u2019s first novel. \u201cThe book was just so prescient and so accurate in presenting questions we now face every day in this century,\u201d Vermette states. \u201cGood sci-fi resonates because it is about us<\/em>. If we want to have a better world tomorrow, we had better keep thinking about these aspects. Dune <\/em>isn\u2019t just a coming-of-age story; it\u2019s for people everywhere who want to deal with these world-changing events.\u201d<\/p>\n

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Villeneuve (above) is already developing concepts for Dune, Part 2 <\/i>(the second half of the novel), a\u00a0book\u00a0Vermette describes as “accurate in presenting questions we now face every day in this century. Good sci-fi resonates because it is about us.”<\/figcaption><\/figure>\n

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Dune<\/em> – Local 600 Camera Team<\/strong><\/p>\n

Director of Photography: Greig Fraser, ASC<\/p>\n

2nd<\/sup> Unit Director of Photography: Katelin Arizmendi<\/p>\n

Aerial Director of Photography: Dylan Goss<\/p>\n

K1 Technician: Eric Dvorsky<\/p>\n

Still Photographer: Chiabella James<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Greig Fraser, ACS, ASC, explores dark new worlds for Denis Villeneuve’s newest incarnation of Frank Herbert’s celebrated novel, Dune.\u00a0 by Kevin H. Martin \/ Photos by Chiabella James \/ Warner Bros. Pictures   Classics of sci-fi literature have proven to be challenging source material when it comes to film adaptations. In the case of Frank Herbert\u2019s Dune, an interplanetary adventure that delved into nascent ecological concerns while offering a study of Messiahdom, the 1965 novel drew considerable Hollywood interest, fueled […]<\/p>\n","protected":false},"author":2,"featured_media":11579,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2],"tags":[],"class_list":["post-11560","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features"],"acf":[],"yoast_head":"\nClimate Change - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/climate-change\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Climate Change - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Greig Fraser, ACS, ASC, explores dark new worlds for Denis Villeneuve’s newest incarnation of Frank Herbert’s celebrated novel, Dune.\u00a0 by Kevin H. Martin \/ Photos by Chiabella James \/ Warner Bros. Pictures   Classics of sci-fi literature have proven to be challenging source material when it comes to film adaptations. 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