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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.” 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. The Virtual Art Department starts their job creating 3-D virtual sets of each location to production designer Andrew Jones’ specifications and then the director and cinematographer can go into the virtual location with VR headsets and do a virtual scout. Digital actors, props and sets are added and can be moved about and coverage is chosen during the virtual scout. Then the cinematographer will follow the process as the virtual set gets further textured with photogrammetry elements and the sky domes are added.
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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.) A majority of the shots were done completely in camera,” Favreau adds. “And in cases where we didn’t get to final pixel, the postproduction process was shortened significantly because we had already made creative choices based on what we had seen in front of us. Postproduction was mostly refining creative choices that we were not able to finalize on the set in a way that we deemed photo-real.” 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. Another challenge on production design is the concept that every set must be executed in full 360 degrees. While in traditional filmmaking a production designer may be tempted to shortcut a design knowing that the camera will only see a small portion of a particular set, in this world the set that is off camera is just as important as the set that is seen on camera.
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 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 Imperial Light Cruiser forms the base of operations for Moff Gideon during the second season of The Mandalorian. The minifigure selection in this set is based on that final confrontation between the Mandalorian and Moff Gideon, with several other supporting cast from the season also included. This review might contain some spoilers for the episode. I was very encouraged by my experiences using similar technology on Jungle Book [ AC, May ’16], and using virtual cameras on The Lion King [ AC, Aug. ’19],” explains Favreau, series creator and executive producer. “I had also experimented with a partial video wall for the pilot episode of The Orville. With the team we had assembled between our crew, ILM, Magnopus, Epic Games, Profile Studios and Lux Machina, I felt that we had a very good chance at a positive outcome.”
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Director Bryce Dallas Howard confers with actress Gina Carano — as mercenary Cara Dune —while shooting the episode “Chapter 4: Sanctuary.”
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. And so it is complete. Overall I appreciate the look of the craft. The silhouette fits nicely, and the underlying technic elements in the conning tower provide a sturdy handle, improving the overall swooshability of the model. The tiny TIE fighters are gorgeous. One can be placed in the opening at the front, and pushed forwad. Unfortunately, this mechanism is only functional when the cabin lid is open.
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