Greig Fraser, the highly acclaimed cinematographer behind films like Rogue One: A Star Wars Story, The Batman and Dune, has become one of Hollywood’s most sought-after DPs (Directors of Photography). As Dune: Part Two approaches, Fraser opened up about the challenges of filming the sequel, his journey as a cinematographer and his role in advancing film technology.

“One doesn’t come out of the womb wanting to be a cinematographer,” Fraser says, recalling his early fascination with filmmaking. His interest in film grew with influences like Grease, Steven Spielberg’s works and the Star Wars franchise. By college, the allure of filmmaking as both a solo and collaborative endeavor took hold.

Fraser, now regarded as a pioneer in his field, earned his first co-cinematography credit on the 2000 documentary P.I.N.S., directed by Garth Davis. 

“Working with Garth was one of the reasons that made me not want to become a director,” Fraser admits, explaining that he realized his strengths lay in capturing the world through a camera, rather than directing.

As he continued to hone his craft, Fraser became known for his ability to create striking, focused visuals that serve the story. His approach to cinematography has been influenced by the complexity of the images modern audiences consume. 

“We have become very sophisticated as a society about images,” Fraser says, emphasizing his goal of simplifying complex ideas into clear, impactful visuals.

Fraser’s role as a pioneer extends beyond traditional cinematography. His work on The Mandalorian and the use of virtual production techniques, such as the Volume stage, have revolutionized how films are made. 

“That massive problem was, how do we create a workable, meaningful technology that helps filmmakers become more efficient?” Fraser explains. These innovations proved invaluable on projects like The Batman and Dune.

Director Denis Villeneuve, who worked closely with Fraser on both Dune films, praises his creativity and willingness to push boundaries. 

“He has a fierce appetite and a beautiful curiosity for exploring new ways of making cinema. In many ways, he’s a pioneer,” Villeneuve says.

For Fraser, contributing to a director’s vision remains the most rewarding part of his work. With each project, he looks for opportunities to grow, not just technologically but artistically. 

“Does it help me grow technologically? What skills does it give me to be able to pass on to my next director?” Fraser asks.