Industrial light
Maintaining the appearance of the first trilogy, with only slight modifications, was important for JJ Abrams and the other directors, because we return to the same universe, so cinema director Dan Mindel focused on film and production design (Rick Carter and Darren Gilford). , costume design (Michael Kaplan) and visual effects (Roger Guyett) worked together from the inside out. They convey an organic sense of continuity in maintaining legendary iconography.
- “We all had a very strong opinion about capturing the spirit of previous films.
- And I think one of the essential elements was clearly the use of places [Rub Desert?Al Khali.
- Arabian Peninsula; Krafla and Lake Myvatn.
- Iceland.
- Isle of Skye.
- Scotland.
- And Skellig Michael.
- County Kerry.
- Ireland] and sets ?.
- And with Lucas on it?Revenge of the Sith ?.
“But at the same time, it’s a great visual effects movie and you’re trying to create places that don’t exist, beyond scale and many of the elements involved need [CGI]. So what I was looking for was to make all these experiences as realistic as possible. We don’t necessarily want to make a retro movie [the first trilogy]. Did we want something new and exciting, this immersive experience like you’re actually flying the Millennium Falcon or if you’re really in a Star Destroyer hangar?
Obviously, technology has made considerable progress in how surfaces can be illuminated or organic elements such as water, fire and smoke can be created, and ILM has improved its simulation capabilities with greater efficiency and realism. At the same time, the studio created a new version of the facial capture translation software for Lupita Nyong’s mo-cap performance?O (Maz Kanata) and Andy Serkis (Supreme Leader Snoke). ILM has also widely used its four studios in San Francisco (central), Vancouver, London and Singapore to create 1,300 scenes out of a total of 2,100 special effects.
“Once we started testing, we all realized that the way forward was a combination of the charm of the late 1970s and the best technology has to offer us today,” Guyett added. Did you call him, step forward? And they said they were focusing on moderation, so we didn’t understand what was in CG and what was practical. Even Kanata and Snoke’s disfigured eye seemed common in this updated universe, and though Nyong?Or he was a rookie in mo-cap, he was helped to repeat his performance so that he could observe the translation process and understand how his performance affected the animation. He also gained immeasurable confidence by seeing Master Serkis at work.
Sometimes, ILM has adopted some retro ideas recommended by Carter and Gilford for the new “Star Wars”, as long as they are not too artificial. But Guyett said that enlightenment remains the basis of what they do and that by building even limited sets, you have the interaction of light and shadow, and actors had something to answer, which was not the case with precondings.
“What [these new technological improvements] meant to us is that when you try to make an explosion or break something, or you see the new X-Wings traveling in the water, they all have more accurate individual simulations, but also greater interactions. And is it a desert explosion that’s very complicated to do?
In general, the process of selecting the best technique at any given time was stimulating. “Going to real places, looking at them and recording them as accurately as possible, allowed us to better understand the environment,” Guyett said. “You see things you’d never think of recreating on the computer. Is it very different to redo everything digitally in your head?.
In other words, the old is again and the foundations of this hybrid philosophy have been laid as they continue in the saga?Star Wars?