DP & VFX RELATIONSHIP - with Greig Fraser & Paul Lambert

Team Deakins

James Ellis Deakins

Tv & Film, Filmlighting, Deakins, Movies, Filmmaking, Production, Film, Cinematography, Film Interviews

4.8 • 1.4K Ratings

🗓️ 14 May 2025

⏱️ 74 minutes

🔗️ Recording | iTunes | RSS

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Summary

SEASON 2 - EPISODE 141 - DP & VFX Relationship - with Greig Fraser & Paul Lambert

In this episode of the Team Deakins Podcast, cinematographer Greig Fraser (Season 1, Episodes 29, 57, 63, 69 & Season 2, Episodes 50, 51, 100) and VFX supervisor Paul Lambert (Season 1, Episode 107) return to talk about the modern relationship between the cinematography and visual effects departments. Throughout the episode, we frequently refer to Paul’s and Greig’s collaboration on both DUNE films, and they reveal how they realized several scenes and overcame the endless challenges of shooting the film with the support of one another. They share why they utilized painted backings to assist in set extension over blue screens or LED walls, and we later swap strategies for figuring out how to maintain the illusion of a flying helicopter. Greig also reveals what makes him proud about a particular all-CG shot in DUNE: PART II, and Paul breaks down what an audience really means when they see “bad CGI” in a film. Towards the end, we discuss the merging of animation and live-action filmmaking, and we look ahead to what the future may bring.

Recommended Viewing: DUNE (2021), DUNE: PART II (2024)

This episode is sponsored by Aputure & Profoto

Transcript

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0:00.0	Hi and welcome to season two of the Team Deacons podcast, a collection of
0:08.8	informal conversations between Roger and James Deacons and a guest.
0:13.7	We never know where the conversation will take us, so listen in and see where it goes.
0:21.2	This episode is sponsored by Aperture, a premier manufacturer of LED lighting with the industry's
0:28.6	greatest variety of fixtures for your complete lighting needs.
0:33.7	Aperture recently announced the new storm family of lights.
0:37.9	With LED white light quality that matches natural daylight and classic tungsten bulbs,
0:43.6	plus extreme low-end dimming while maintaining color quality.
0:48.2	Discover more about the new storm lights and the complete Aperture lighting ecosystem at Apertor.com.
0:58.8	This episode is sponsored by Prophoto.
1:02.5	Prophoto, the light shaping company, renowned for its high-end lighting equipment used by the
1:08.1	world's best photographers and brands, has now expanded into the world of
1:13.0	cinematography with uncompromising speed of use and limitless creativity. The L-1600D is a high
1:21.7	output with no ballast LED light. Its dual mount makes it compatible with 50 plus pro photo modifiers and hundreds of
1:31.5	Bowen's mount modifiers, making it a breakthrough product for cinematographers and gaffers
1:37.9	seeking speed and efficiency on set with the highest degree of creative light-shaping possibilities.
1:47.0	Today we're looking at ways the cinematographer and visual effects supervisor work together.
1:52.0	Joining us is cinematographer Greg Frazier and visual effects supervisor, Paul Lambert.
1:59.0	They've worked together on both Dune films and we're interested in learning
2:02.2	the way they collaborated on these films as well as others. Guys, thank you for doing this. Yes,
2:07.6	welcome. Thank you for having us. Thank you. It's always fun to talk me about this. Indeed.
2:12.8	Let's start in prep since that is the beginning. How did you guys start in prep?
	...

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