Although this made it more difficult to key out the actors during the editing process, it made the light reflections appear realistic to audiences which massively sold the CGI images and maintained the suspension of disbelief.ĭune's accurate use of lighting was also crucial to its battle scenes. To combat this, Villeneuve employed the use of sand color screens during shots that would require post-production enhancements.

The problem with these screens is that their colors reflect an unnatural light on the actors and the surroundings, which usually breaks the immersion of the CGI. Even when shooting on location, most productions make extensive use of blue and green screens to provide a high-contrast backdrop on the actors and sets to make the visual effects editing easier. Regardless of how realistic a computer-generated image is designed to look, if the lighting of the environment and the actors doesn't react with the artificial image, then the CGI will always appear unnatural to audiences. RELATED: Dune: Part Two's Austin Butler Describes Playing His Villainous Role An alleged 18 tons of sand was used during Dune's production, as it was blown across the sets using industrial fans to make the artificial environments look realistic and produce a blurry visual for CGI elements in the backgrounds.

Villeneuve also produced a lot of the wind-swept sand that filled the air of Arrakis practically.

To recreate this, Villeneuve brought in a vibrating metal plate, which he placed underneath the sand to practically create the displacement effect. As the sandworms scoured the desert, their enormous size caused the surrounding sand to shake violently, causing anyone on the surface to begin sinking through as the grains shifted around them. While Villeneuve had to rely on CGI to help bring these hulking creatures to life, he blended this with ingenious practical effects to showcase how the sandworms affected the surrounding environment. One of Dune's most iconic elements is the colossal, spice-producing sandworms that roam Arrakis' landscape.

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