“That means that we could develop assets that we could pass between our environment artists and lighting artists and not have to have separate assets, which is something that has bogged us down in the past,” says Tubach, confirming that that also means that they can be used going forward for Star Wars VIII.This article is part of a special series in honor of Star Wars ‘ 40th anniversary on May 25. New tools were also developed for lighting and rendering, while a new “universal asset pipeline” was employed during production. “When the crevasse opens up at the end of the movie, when Kylo Ren and Rey are fighting in the forest, all of the rocks and the snow and falling trees and the trees themselves breaking apart - that’s all from that engine,” says ILM VFX supervisor Patrick Tubach. “So we weren’t taking what he said exactly - we were inspired by their motivations.”Īmong the latest technology used for the film is a new simulation engine for smoke and other environmental elements. For instance, Dennis Muren (who has won nine Oscars, including those for The Empire Strikes Back and Return of the Jedi) “talked about how you didn’t have to be photorealistic all the time and that you could use lights to show off surfaces,” says Guyett.
Guyett notes that a secret weapon was that some who worked on the 1977 film are still employed at ILM and contributed to Force Awakens. “We built a bespoke steel chassis, with a high-powered motorbike engine in it and a hidden driver.” To complete the shots, they used digital tools to paint out what the viewer isn’t supported to see. was very particular about the design we had to find a mechanized way to make it go across the desert,” says Corbould. Rey’s speeder is among the new vehicles introduced in the movie. “The good thing was now we have the digital tools to help us out as well, so we were able to expand on the original but keep the feeling of the original.” Abrams tried to do as much as he could practically, so that it was familiar,” says Corbould. “A huge amount of was done practically, because that’s what technology was available. On Thursday, the Academy took notice, giving the movie five Oscar nominations, including one for visual effects. The “DNA of the original trilogy” is all over The Force Awakens, says VFX supervisor Roger Guyett of lead VFX house Industrial Light & Magic. That fealty to George Lucas’ original trilogy, as well as a commitment to blend practical effects with the latest digital tools, characterized the VFX work on the new Star Wars installment. The decals and all the little stickers and everything on there was painstakingly and lovingly put onto the Falcon.” “A lot of the textures that you see on the Falcon were derived from those actual photographs of the models in the archive. “We had the actual Falcon models that we were able to photograph,” says ILM VFX supervisor Patrick Tubach. The textures also added to the authenticity of the Millennium Falcon. For example, when the Millennium Falcon swings into action, the actors were in its cockpit, mounted on a motion base, and then the visual effects team added the rest of the craft and battle digitally in the computer. This reproduction was used for all the scenes that involved the actors. “It’s almost a 100 percent faithful reproduction of the original,” he says.
Visual Effects Society Honors: A Celebration of Community and Call for Diversity and Inclusion, Work-Life Balance
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