Issue link: https://digital.copcomm.com/i/1500164
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 4 3 The Ship - In the spirit of our show, the sets and vehicle are Star Wars adjacent—unmistakably Star Wars, but the next town over. For The Mandalorian, this N1 was essentially a "barn find." One of the classic designs from the prequel trilogy created by my Production Design colleague Doug Chiang, this one has been hot-rodded and put back in service by Din Djarin and Peli Motto, the droid port being turned into a bespoke baby seat. The Volume - The shot in the still shows the character traveling through hyperpace, the Star Wars convention for interstellar travel. This was shot on the Volume. Together with ILM, our production has developed the process of filming live action in an immersive LED volume. This is an evolving technology which incorporates video-game render engines, camera tracking and high-resolution LED panels. Rather than just a backdrop, the action is surrounded on all sides and overhead by a dynamic image rendered on a huge LED wall and ceiling. This creates a filmable backdrop, as well as interactive lighting and reflections. The images from the Repository set at the end of this article are a clear demonstration of the benefits of this process. A. GROGU STARES OUT OF THE PASSENGER BUBBLE OF THE N1 STARFIGHTER AS HE AND THE MANDALORIAN DIN DJARIN TRAVEL THROUGH HYPERSPACE ON THEIR CONTINUING ADVENTURE. PRODUCTION STILL.