Favreau had just completed The Jungle Book and was embarking on The Lion Kingfor Disney — both visual-effects heavy films. This article is an expanded version of the story that appears in our February, 2020 print magazine.

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We add shape and structure to the rear of the ship’s hull, and build up a technic tower, just behind the midpoint of the vessel. This will add strength to this region, probably contributing to a carry handle. Bags 4&5 Scanning is a faster, looser process than photogrammetry and it is done from multiple positions and viewpoints. For scanning, the more parallax introduced, the better the software can resolve the 3-D geometry. Damm created a custom rig where the scanner straps six cameras to their body which all fire simultaneously as the scanner moves about the location. This allows them to gather six times the images in the same amount of time — about 1,800 on average. The technology that we were able to innovate on The Mandalorian would not have been possible had we not developed technologies around the challenges of Jungle Book and Lion King,” offers Favreau. “We had used game-engine and motion-capture [technology] and real-time set extension that had to be rendered after the fact, so real-time render was a natural extension of this approach.” Visual effects supervisor Richard Bluff and executive creative director and head of ILM Rob Bredow showed Favreau a number of tests that ILM had conducted including the technology of the LED wall from Rogue One. Fraser suggested with the advancements in LED technology since Rogue One that this project could leverage new panels and push the envelope on real-time, in-camera visual effects. Favreau loved the concept and decided that was the production path to take. “I was very encouraged by my experiences using similar technology on Jungle Book and using virtual cameras on The Lion King. I had also experimented with a partial video wall for the pilot episode of The Orville.” Journey to the outer reaches of the galaxy and relive the adventures of The Mandalorian and the adorable Grogu with this officially licensed Star Wars masterpiece. Featuring iconic artwork that captures the essence of this epic series, this light-up canvas is a must-have for any fan of the Mandalorian mythos.They sometimes used photogrammetry as the basis, but always relied upon the same visual-effects artists who create environments for the Star Wars films to realize these real-time worlds — “baking in” lighting choices established earlier in the pipeline with high-end, ray-traced rendering. This concept was initially proposed by Kim Libreri of Epic Games while he was at Lucasfilm and it has become the basis of the technology that “Holy Grail” that makes a live-action Star Wars television series possible. When Mayfeld’s long-suppressed guilt bomb detonates, Star Wars momentarily becomes as morally instructive and clearheaded as Lucas always wanted it to be. The episode asks viewers to think about the galaxy’s endless conflict from more than one point of view, and concede that, in the words of one of the greatest Onion headlines, the worst person you know might have a point — but that awareness of relativity doesn’t mean a person can throw their moral compass away and plead neutrality. Whether you're a dedicated fan of the series or searching for the perfect gift for a fellow Star Wars enthusiast, this Star Wars The Mandalorian Nightfall Light-up Canvas is the ultimate choice. Elevate your space, celebrate the epic tales of this unlikely pair, and let the Force be your guide with this stunning work of art. The Volume could incorporate virtual lighting, too, via the “Brain Bar,” a NASA Mission Control-like section of the soundstage where as many as a dozen artists from ILM, Unreal and Profile sat at workstations and made the technology of the Volume function. Their work was able to incorporate on-the-fly color-correction adjustments and virtual-lighting tools, among other tweaks.

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Because of the enormous amount of processing power needed to create this kind of imagery, the full 180' screen and ceiling could not be rendered high-resolution, photo-real in real time. The compromise was to enter the specific lens used on the camera into the system, so that it rendered a photo-real, high-resolution image based on the camera’s specific field of view at that given moment, while the rest of the screen displayed a lower-resolution image that was still effective for interactive lighting and reflections on the talent, props and physical sets. (The simpler polygon count facilitated faster rendering times.)If an actor is close to a set piece, it is more often preferred that piece be physical instead of virtual. If they’re close to a wall, that should be a physical wall so that they are actually close to something real. As well as the plates, we also have a collection of sloped elements, going towards building up the conning tower, as well as the rear upper plating. Between the upper and lower plating, we set up some greeblling and front This concept radically changed how we approach the sets,” Jones continues. “Anything you put in The Volume is lit by the environment, so we have to make sure that we conceptualize and construct the virtual set in its entirety of every location in full 360. Since the actor is, in essence, a chrome ball, he’s reflecting what is all around him so every detail needs to be realized.”

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The Class 546 Cruiser, also designated as a Lightspeed Cruiser, [1] was a modified model of Arquitens-class command cruiser primarily designed for greater speed under the Class 546 program. [2] A Class 546 Cruiser was used by an Imperial remnant led by Moff Gideon. Although similar to the command cruiser model, the Class 546 housed a large internal hangar bay that could be accessed by port and starboard hangar doors and a launch tube at the center of the vessel between the ship's two prongs. Its bridge was also different from the standard Arquitens-class models, [5] and was equipped with three primary and four secondary sublight engines. [4] There are some relatively new elements here, including the 3×3 curved quarter circle arch, whichmakes fro the front portion of the engines. The two outer engines are made using curved 8×4 simicircular panels. Panels are sloped over the rear of the ship, including the central engine. Transparent light blue radar dishes are attached to simulate the main engine jets. There is a little deviation from the source material here: there are 4 smaller engines between each of the main thrusters on screen. Not even including a hint of them feels a little thoughtless, but, on the other hand, gives you the opportunity to improve on the model with your own modifications. Bag 7 A variation of the LEGO Minifigure baby, Grogu has appeared in 4 sets now, appearing the same each time. It is one of the most adorable minifigures I have ever seen, from the sand green rubbery head to the infant’s torso. While not unique, it is good to see it here. The Build This information was mapped onto 3D virtual sets and then modified or embellished as necessary to adhere to the Star Wars design aesthetic. If there wasn’t a real-world location to photograph, the environments were created entirely by ILM’s “environments” visual-effects team. The elements of the locations were loaded into the Unreal Engine video game platform, which provided a live, real-time, 3D environment that could react to the camera’s position. All of this was captured in the Volume, in-camera and in real time. Part of the walkway was a real, practical set, but the rest of the world was the virtual image on the LED screen, and the parallax as the camera boomed up matched perfectly with the real set. The effect of this system is seamless.Shot on Arri’s Alexa LF, The Mandalorian was the maiden voyage for Panavision’s full-frame Ultra Vista 1.65x anamorphic lenses. The 1.65x anamorphic squeeze allowed for full utilization of the 1.44:1 aspect ratio of the LF to create a 2.37:1 native aspect ratio, which was only slightly cropped to 2.39:1 for exhibition. Each phase of photography — photogrammetry and scanning — needs to be done at various times during the day to capture different looks to the landscape. The virtual LED environments were hugely successful, but traditional greenscreen still played a significant role in the production of The Mandalorian, and it was always on hand — especially for situations where the frustum was too wide for the system to adequately respond. The Volume was also capable of producing virtual greenscreen on the LED wall, which could be any size, and any hue or saturation of green. Among the benefits of virtual green-screen were that it required no time to set up or rig, and its size could be set to precisely outline the subject to be replaced — which greatly minimized and sometimes even eliminated green spill. Our completed guns rotate on a turntable. The guns are loaded with transparent bright green spring missiles, which look a lot like the laser blasts used by the Empire. We chose the LF for a couple reasons,” explains Fraser. “ Star Wars has a long history of anamorphic photography, and that aspect ratio is really key. We tested spherical lenses and cropping to 2.40, but it didn’t feel right. It felt very contemporary, not like the Star Wars we grew up with. Additionally, the LF’s larger sensor changes the focal length of the lens that we use for any given shot to a longer lens and reduces the overall depth of field. The T2.3 of the Ultra Vistas is more like a T0.8 in Super 35, so with less depth of field, it was easier to put the LED screen out of focus faster, which avoided a lot of issues with moiré. It allows the inherent problems in a 2D screen displaying 3D images to fall off in focus a lot faster, so the eye can’t tell that those buildings that appear to be 1,000 feet away are actually being projected on a 2D screen only 20 feet from the actor.

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The locations depicted on the LED wall were initially modeled in rough form by visual-effects artists creating 3D models in Maya, to the specs determined by production designer Andrew Jones and visual consultant Doug Chiang. Then, wherever possible, a photogrammetry team would head to an actual location and create a 3D photographic scan. This story was originally published in the Feb. 2020 issue of AC. Some images are additional or alternate. I went to see Jon and ask him if we would like to do something for Disney’s new streaming service,” Kennedy says. “I’ve known that Jon has wanted to do a Star Wars project for a long time, so we started talking right away about what he could do that would push technology and that led to a whole conversation around what could change the production path; what could actually create a way in which we could make things differently?” Measuring approximately 30 cm x 40 cm, it's the ideal size to display in your home, office, or even your own ship. With the added magic of LED lights, you can illuminate the heroic duo in a soft, captivating glow that will transport you straight into the Star Wars action. But only one of these two moments is rooted in something achingly real. And it’s not the one that smashes a Pavlovian fan-service button after spending several minutes pandering to the toxic “not my Luke” faction of the fandom, which would prefer to forego themes of regret, failure, bitterness, and other unpleasant but inevitable adult emotions and instead watch a character they spent a lifetime identifying with flip through the air while dicing up foes with a magic sword. Like an action figure — the kind I used to play with when I was 9.The cameras used for scanning were Canon EOS 5D MKIV and EOS 5DS with prime lenses. Zooms are sometimes incorporated as modern stitching software has gotten better about solving multiple images from different focal lengths. Speaking as a card-carrying OG Star Wars nerd — literally: I bought the first set of trading cards at my neighborhood comic shop in Kansas City, and to this day I can’t look at jpegs of those babies without hallucinating an olfactory Proustian bubblegum rush — I truly do understand the grateful tears that some viewers shed during the last ten minutes of “The Rescue,” particularly at the “surprise” revelation of Grogu’s savior. When that hood dropped, waterworks flowed around the world. And the saltwater level rose when episode director Peyton Reed held that anguished close-up of Mando watching his emerald child depart.