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The Stagecraft volume is bigger than any of those - but more importantly, it’s smarter. The background is a set of enormous LED screens such as you might have seen onstage at conferences and concerts. This particular volume, called Stagecraft by ILM, the company that put it together, is not static. What’s more, because of the limitations in rendering CG content, the movements of the camera are often restricted to a dolly track or a few pre-selected shots for which the content (and lighting, as we’ll see) has been prepared. Practical effects were a deliberate choice for “The Child” (AKA Baby Yoda) as well. Some are smaller, plainer affairs, where the motions of the actors behind CG characters play out their roles.īut they generally have one thing in common: They’re static. Some volumes are big and built into sets, as you might have seen in behind-the-scenes footage of Marvel or Star Wars movies. In filmmaking terms, a “volume” generally refers to a space where motion capture and compositing take place.

ILM just today publicly released a behind-the-scenes video of the system in use, as well as a number of new details about it. “So what the hell is it?” I hear you asking.įormally called Stagecraft, it’s 20 feet tall, 270 degrees around, and 75 feet across - the largest and most sophisticated virtual filmmaking environment yet made. The advance is not in the idea but the execution: a confluence of technologies that redefines “virtual production” and will empower a new generation of creators.Īs detailed in an extensive report in American Cinematographer Magazine (I’ve been chasing this story for some time, but suspected this venerable trade publication would get the drop on me), the production process of “The Mandalorian” is completely unlike any before, and it’s hard to imagine any major film production not using the technology going forward. What is this magical new technology? It’s an evolution of a technique that’s been in use for nearly a century in one form or another: displaying a live image behind the actors. The cutting edge tech (literally) behind “The Mandalorian” creates a new standard and paradigm for media - and the audience will be none the wiser.

Star crunch movies series#

But while a successful live-action Star Wars TV series is important in its own right, the way this particular show was made represents a far greater change, perhaps the most important since the green screen. Filoni “weighs in on a narrative level” while Kennedy oversees Lucasfilm and Beck brings other filmmakers into the fold.“The Mandalorian” was a pretty good show. Kathleen Kennedy will still serve as president of Lucasfilm and Carrie Beck as head of development.

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I feel more capable of actually being helpful outside of just saying, ‘Well, Jedi are like this, and Sith are like this…’”įiloni has been with the “Star Wars” universe since directing the “Clone Wars” movie in 2008 and has worked closely with creator George Lucas for years. “I can also lend a perspective on the challenges that telling these stories will present. “To truly help filmmakers, it was really important for me to experience it firsthand,” Filoni said. Filoni is also “exploring a possible second season” of “Ahsoka,” which starred Rosario Dawson as the live-action, grown-up version of Jedi Ahsoka Tano. Up next is “Skeleton Crew,” a coming-of-age story created by Jon Watts and Christopher Ford “The Acolyte,” a thriller helmed by Leslye Headland set in the distant past and Season 2 of Tony Gilroy’s “Andor.” On the big screen there are films in the works by James Mangold, Taika Waititi, Shawn Levy and Sharmeen Obaid-Chinoy. The franchise has several more TV series in the works too. “Star Wars” is slowly planning a grand return to the big screen. I need to be a help across the galaxy here, like a part of a Jedi Council almost.” “But I do feel I’m trying to help them tell the best story that they want to tell. “I’m not telling people what to do,” he added.