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Director Bryce Dallas Howard confers with actress Gina Carano — as mercenary Cara Dune —while shooting the episode “Chapter 4: Sanctuary.” 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 Overall I give the Light Cruiser 3.5/5 Arbitrary praise units. The build experience was great, as is the minifigure selection. I also really enjoyed the microscale TIE Fighters. While there are some innacuracies with the actual craft, I probably feel most challenged by the final price, especially in Australia, where it seems that perhaps the pricing is now geared to big box retailers offering 10-20% on an almost weekly basis. 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. 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.

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The selection of minifigures seen during this wave of LEGO® Star Wars sets has been remarkable, and the ones included in this set are no exception, although it is a shame that many of them are only included in the most expensive set of the wave. 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

We all felt a little like film students at the start of this,” Fraser says. “It’s all new, and we were discovering the limitations and abilities of the system as we went along. We continually pushed the system to break it and see where the edges of the envelope were — but the technology continued to evolve and allow us to push that envelope further. We’d say, ‘Oh, man, I wish we could …’ and someone at the Brain Bar would say, ‘Yeah, I think we can!’ And the next day we’d have that ability. It was pretty amazing.” That was our goal,” says Fraser, who had previously explored the Star Wars galaxy while shooting Rogue One: A Star Wars Story ( AC Feb. ’17). “We wanted to create an environment that was conducive not just to giving a composition line-up to the effects, but to actually capturing them in real time, photo-real and in-camera, so that the actors were in that environment in the right lighting — all at the moment of photography.” 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. 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

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In today’s production workflow, the cinematographer comes in to prep the film and then shoots and then is sent away until the grading process — so much work with the image happens in post that we’re not a part of,” asserts Fraser. “This inverted production workflow of The Mandalorian keeps the cinematographer in the loop from the development of the image to the final image, which is often captured in-camera. Baz and I are there to shepherd the image through the whole process and this is so supremely important. Cinematographers work to design imagery every day, 12 hours a day, and we know how to look at an image and know immediately if its right or wrong. Visual effects artists have amazing skills, but they don’t always have the photographic experience to know what is right or wrong and a lot of times what we plan and photograph doesn’t get translated through post. With this kind of workflow we supervise every element of the shot and have a much closer partnership with visual effects to make sure that it works with what we and the director planned and executed on set. We get that final shot in camera and the result is pretty amazing.” Many objects that are physical are also virtual. Even if a prop or set piece is physically constructed, it is scanned and incorporated into the virtual world so that it becomes not only a practical asset, but a digital one as well. Once it’s in the virtual world, it can be turned on or off on a particular set or duplicated. 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. For decades, green- and bluescreen compositing was the go-to solution for bringing fantastic environments and actors together on the screen. ( Industrial Light & Magic did pioneering work with the technology for the original Star Wars movie.) However, when characters are wearing highly reflective costumes, as is the case with Mando (Pedro Pascal), the title character of The Mandalorian, the reflection of green- and bluescreen in the wardrobe causes costly problems in post-production. In addition, it’s challenging for actors to perform in a “sea of blue,” and for key creatives to have input on shot designs and composition. 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. The Volume is a difficult technology to understand until you stand there in front of the ‘projection’ on the LED screen, put an actor in front of it, and move the camera around,” Fraser says. “It’s hard to grasp. It’s not really rear projection; it’s not a TransLite because [it is a real-time, interactive image with 3D objects] and has the proper parallax; and it’s photo-real, not animated, but it is generated through a gaming engine.” Favreau had just completed The Jungle Book and was embarking on The Lion Kingfor Disney — both visual-effects heavy films. I set out to arrange all of my minifigures together from the August Releases: The Duel on Mandalore, Imperial Armourder Marauder, Boba Fett’s Star Ship, the Mandalorian Starfighter, The Bad Batch shuttle, the Imperial Light Cruiser and the UCS Republic Gunship. I am missing the 2 figures from the 75296 Darth Vader Meditation Chamber.

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This story was originally published in the Feb. 2020 issue of AC. Some images are additional or alternate. It was also of paramount importance to me that the result of this technology not just be ‘suitable for TV,’ but match that of major, high-end motion pictures,” Fraser continues. “We had to push the bar to the point where no one would really know we were using new technology; they would just accept it as is. Amazingly, we were able to do just that.” 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.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] 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.)