Uploaded February 2025 | Updated September 2026, 2 weeks ago
The Cinematography Podcast Episode 299: Pierre Gill
Dune: Prophecy, the six-episode prequel series to the Dune films, now streaming on Max, delves into the origins of the Bene Gesserit. The series is set 10,000 years before the events of the movies. Bringing this ancient future to life was just one of the challenges faced by cinematographer Pierre Gill, CSC, a veteran of science fiction and period pieces alike.
Pierre, who has a deep affinity for the sci-fi genre, sees it as a close cousin to historical dramas. “It’s like another type of period piece,” he explains, citing the importance of costumes, lighting, and set design in creating an immersive world. His experience in science fiction is extensive, having served as additional and second unit cinematographer on Denis Villeneuve’s Dune, Arrival, and Blade Runner 2049.
This prior experience proved invaluable for Dune: Prophecy. “On Dune: Prophecy, the challenge is there’s not really a lot of light source in the concept of the universe,” Pierre notes.
The goal was to respect the established aesthetic of Villeneuve’s Dune, avoiding an overabundance of typical sci-fi lighting. During his initial interview for the series, Pierre emphasized his understanding of the Dune look, a perspective informed by his work on the first film. He felt the series should align with the films, potentially even enhancing viewers’ appreciation of the cinematic universe.
However, Pierre was also determined to bring his own artistic vision to the project. “At the same time,” he admits, “it’s difficult because as a cinematographer, I don’t want to recreate what Greig Fraser, the master, did. I don’t want to copy him.”
Pierre’s approach for Prophecy involved strong, wide shots with splashes of bold color. After extensive lens and camera testing, Pierre chose to shoot with the Arri Alexa 35.
He also used two Steadicams to maximize efficiency during the action-packed shoot. Pierre favored a centered camera, even in close-ups, and faced the significant hurdle of lighting the massive sets. Time constraints limited pre-lighting opportunities, forcing Pierre to find innovative solutions. He employed mobile softboxes and book lighting to sculpt the actors’ faces, creating soft bounce light. The presence of ceilings on some of the sets allowed for lower camera angles and the inclusion of more background detail. He was also able to use many practical lighting sources throughout the set.
Dune: Prophecy has been picked up for a second season and Pierre is excited to explore the Dune universe further. “Season 2 will be even more powerful, I think,” he predicts.
You can see Dune: Prophecy on Max.
Find Pierre Gill: Instagram @pierregill_dp
Close focus: The controversy over Emilia Pérez star Karla Sofía Gascón’s racist tweets from 2020 and 2021 has caused Netflix to distance themselves from championing her Oscar campaign.
Kays’ short end: The 2016 TV series called Swedish Dicks on Amazon Prime, about a couple of unlicensed private detectives trying to solve crimes in Los Angeles.
Ben’s short end: The movie Companion, out now in theaters, starring Sophie Thatcher.
Sponsored by Hot Rod Cameras
Sponsored by Greentree Creative: If you enjoy The Cinematography Podcast and you’re interested in growing or starting your own podcast, contact Alana Kode at Greentree Creative. Greentree Creative can help you with all of your digital marketing needs including podcast launch and creation, advertising, social media management and content creation.
LIKE AND FOLLOW US, send fan mail or suggestions! Rate, review and subscribe on Apple Podcasts!
YouTube
Email: editor@camnoir.com
Facebook:@cinepod
Instagram: @thecinepod
Threads: @thecinepod
Blue Sky: @thecinepod.bsky.social
Podcast Credits:
Producer: Alana Kode
All web and social media content written by Alana Kode
Host and editor in Chief: Illya Friedman
Instagram: @illyafriedman @hotrodcameras
Host: Ben Rock
Twitter: @neptunesalad
Instagram: @bejamin_rock
Editor: Michael Dispenza
Composer: Kays Al-Atrakchi
The Cinematography Podcast Episode 299: Pierre Gill
Dune: Prophecy, the six-episode prequel series to the Dune films, now streaming on Max, delves into the origins of the Bene Gesserit. The series is set 10,000 years before the events of the movies. Bringing this ancient future to life was just one of the challenges faced by cinematographer Pierre Gill, CSC, a veteran of science fiction and period pieces alike.
Pierre, who has a deep affinity for the sci-fi genre, sees it as a close cousin to historical dramas. “It’s like another type of period piece,” he explains, citing the importance of costumes, lighting, and set design in creating an immersive world. His experience in science fiction is extensive, having served as additional and second unit cinematographer on Denis Villeneuve’s Dune, Arrival, and Blade Runner 2049.
This prior experience proved invaluable for Dune: Prophecy. “On Dune: Prophecy, the challenge is there’s not really a lot of light source in the concept of the universe,” Pierre notes.
The goal was to respect the established aesthetic of Villeneuve’s Dune, avoiding an overabundance of typical sci-fi lighting. During his initial interview for the series, Pierre emphasized his understanding of the Dune look, a perspective informed by his work on the first film. He felt the series should align with the films, potentially even enhancing viewers’ appreciation of the cinematic universe.
However, Pierre was also determined to bring his own artistic vision to the project. “At the same time,” he admits, “it’s difficult because as a cinematographer, I don’t want to recreate what Greig Fraser, the master, did. I don’t want to copy him.”
Pierre’s approach for Prophecy involved strong, wide shots with splashes of bold color. After extensive lens and camera testing, Pierre chose to shoot with the Arri Alexa 35.
He also used two Steadicams to maximize efficiency during the action-packed shoot. Pierre favored a centered camera, even in close-ups, and faced the significant hurdle of lighting the massive sets. Time constraints limited pre-lighting opportunities, forcing Pierre to find innovative solutions. He employed mobile softboxes and book lighting to sculpt the actors’ faces, creating soft bounce light. The presence of ceilings on some of the sets allowed for lower camera angles and the inclusion of more background detail. He was also able to use many practical lighting sources throughout the set.
Dune: Prophecy has been picked up for a second season and Pierre is excited to explore the Dune universe further. “Season 2 will be even more powerful, I think,” he predicts.
You can see Dune: Prophecy on Max.
Find Pierre Gill: Instagram @pierregill_dp
Close focus: The controversy over Emilia Pérez star Karla Sofía Gascón’s racist tweets from 2020 and 2021 has caused Netflix to distance themselves from championing her Oscar campaign.
Kays’ short end: The 2016 TV series called Swedish Dicks on Amazon Prime, about a couple of unlicensed private detectives trying to solve crimes in Los Angeles.
Ben’s short end: The movie Companion, out now in theaters, starring Sophie Thatcher.
Sponsored by Hot Rod Cameras
Sponsored by Greentree Creative: If you enjoy The Cinematography Podcast and you’re interested in growing or starting your own podcast, contact Alana Kode at Greentree Creative. Greentree Creative can help you with all of your digital marketing needs including podcast launch and creation, advertising, social media management and content creation.
LIKE AND FOLLOW US, send fan mail or suggestions! Rate, review and subscribe on Apple Podcasts!
YouTube
Email: editor@camnoir.com
Facebook:@cinepod
Instagram: @thecinepod
Threads: @thecinepod
Blue Sky: @thecinepod.bsky.social
Podcast Credits:
Producer: Alana Kode
All web and social media content written by Alana Kode
Host and editor in Chief: Illya Friedman
Instagram: @illyafriedman @hotrodcameras
Host: Ben Rock
Twitter: @neptunesalad
Instagram: @bejamin_rock
Editor: Michael Dispenza
Composer: Kays Al-Atrakchi
