Issue link: http://digital.copcomm.com/i/1260764
T H E M A N D A L O R I A N | P E R S P E C T I V E 9 7 E bold and unafraid of designing characters and creatures that looked like rubber monsters. He wanted to combine old-school techniues with the latest in cutting-edge filmmaking technology to give us a rich sandbox to play in—as a result, The Mandalorian is a terrific addition and natural evolution of the Star Wars universe." on wanted to implement IL's cutting-edge technology of wrap-around LED panels in the filming of the series. Shooting the episodes on a soundstage we called "The Volume," we were able to create scenes both intimate yet epic in this VR arena. The universe of hangar bays, deserts and ice planets were digitally built, projected on stage, and captured in-camera, without needing blue screens or location shoots. The sets were built in Maya by Production Designer Andrew Jones' Art Department and further enhanced in the Unreal 3D gaming engine by his Virtual Art Department (the VAD). Exotic outdoor locations, such as the Chilean desert and Icelandic tundra, were scanned, and that data adapted by the VAD to be projected on stage. Displayed on a huge wrap-around LED wall, the sets would become a virtually inhabitable environment. The camera, lock-synced to the video wall, acted as virtual reality goggles would, the background shifting with the camera as it moved. With the physical sets built right up to the wall, you could not tell where reality ended and the projection began. You could even create traveling shots, the background scrolling behind the actors while they rode speeder-bikes or lurrgs. ones was tasked with pulling off this daily magic trick. He also oversaw the practical Art Department, building sets for the Ice Planet, a E. TRASK TAVERN SET BUILT ON THE LED VOLUME… BEFORE… F. …AND AFTER, WITH THE LED WALL PROVIDING THE REST OF THE SET. THE LED PROJECTED SET WAS BUILT IN CG AND IN THE UNREAL ENVIRONMENT. WITHOUT NEEDING BLUE SCREEN OR REAR PROJECTION, THE LED ALSO HELPED TO REALISTICALLY LIGHT THE SET, PROVIDING REFLECTION AND SHADOW. SET PHOTO. G. THE LED VOLUME AS THE TATOOINE HANGAR BAY WITH THE RAZOR CREST HULL PIECE IN PLACE. THE ENGINES AND TOP OF SHIP ADDED LATER IN VFX. NOTICE THE STRIP OF BLUE SKY AT TOP OF THE PROJECTION, AND THE CEILING LED WALL. SET PHOTO. H. NAVARRO MARKET STREET BUILT AND DRESSED BY ANDREW JONES' ART DEPARTMENT. WONDERFUL SET DECORATING BY AMANDA SERINO. SET PHOTO. I. SET BUILD OF THE UGNAUGHT'S HOME FOR EPISODES ONE AND TWO. F G H I