American Cinematographer - February 2017 - 44

◗

Rebel Assault
Right: The crew
readies a rainsoaked scene on
the Eadu
landing-platform
set, where
Krennic
addresses Galen
and his team of
Imperial
scientists.
Below: Jones
and crew work
through the
onstage
downpour.

ber that when we screened our tests
with the Ultra Panatars, the images
looked both beautiful and unique.
Production designer Doug
Chiang
Chiang has a long history in the
Star Wars galaxy, having worked as
design director for Episode I - The
Phantom Menace (AC Sept. '99) and a
concept-design supervisor for Episode II
- Attack of the Clones (AC Sept. '02), then
returning as a concept artist for The
Force Awakens. Chiang shared produc44

February 2017

tion-design duties on Rogue One with
Neil Lamont.
American
Cinematographer:
How did you and Gareth Edwards
begin to tackle the design for Rogue
One?
Doug Chiang: We had many
different conversations about what he
liked, what he wanted to do, and what
new component he could add to this
film. Based on John Knoll's story treatment, we knew that the film would take
place maybe a month or two before
American Cinematographer

Episode IV, so we knew right away that
the designs had to dovetail seamlessly
and stay true to Episode IV. One of the
things we discussed was, 'How about if
we approach the film as if these were
sets and designs that George Lucas had
built back in the late-Seventies but
never shot on?'
I found Gareth to have the same
visual sensibility as George. And what I
mean by that is Gareth looks at icons,
silhouettes, shapes. He looks at the
overall design for the logo: What is that
logo shape? And it goes back to a lesson
that I learned from George, which is,
'When you design something, you
should be able to redraw it in a matter of
two or three seconds.' It's distilling the
idea down to its essence, and it comes
down to basic shapes. Gareth had that
instinctual ability.
It was really fun to interpret this
through Gareth's lens, in terms of the
shapes that he liked, which were very
much in line with what George and
[original trilogy concept artists] Ralph
McQuarrie and Joe Johnston were
drawing. And so, in designing Rogue,
often I would go back and look at
Ralph's work in terms of, 'Maybe we can
update this; maybe we can adapt this
into an element that we can use in our



Table of Contents for the Digital Edition of American Cinematographer - February 2017

Contents
American Cinematographer - February 2017 - Cover1
American Cinematographer - February 2017 - Cover2
American Cinematographer - February 2017 - 1
American Cinematographer - February 2017 - 2
American Cinematographer - February 2017 - Contents
American Cinematographer - February 2017 - 4
American Cinematographer - February 2017 - 5
American Cinematographer - February 2017 - 6
American Cinematographer - February 2017 - 7
American Cinematographer - February 2017 - 8
American Cinematographer - February 2017 - 9
American Cinematographer - February 2017 - 10
American Cinematographer - February 2017 - 11
American Cinematographer - February 2017 - 12
American Cinematographer - February 2017 - 13
American Cinematographer - February 2017 - 14
American Cinematographer - February 2017 - 15
American Cinematographer - February 2017 - 16
American Cinematographer - February 2017 - 17
American Cinematographer - February 2017 - 18
American Cinematographer - February 2017 - 19
American Cinematographer - February 2017 - 20
American Cinematographer - February 2017 - 21
American Cinematographer - February 2017 - 22
American Cinematographer - February 2017 - 23
American Cinematographer - February 2017 - 24
American Cinematographer - February 2017 - 25
American Cinematographer - February 2017 - 26
American Cinematographer - February 2017 - 27
American Cinematographer - February 2017 - 28
American Cinematographer - February 2017 - 29
American Cinematographer - February 2017 - 30
American Cinematographer - February 2017 - 31
American Cinematographer - February 2017 - 32
American Cinematographer - February 2017 - 33
American Cinematographer - February 2017 - 34
American Cinematographer - February 2017 - 35
American Cinematographer - February 2017 - 36
American Cinematographer - February 2017 - A
American Cinematographer - February 2017 - B
American Cinematographer - February 2017 - 37
American Cinematographer - February 2017 - 38
American Cinematographer - February 2017 - 39
American Cinematographer - February 2017 - 40
American Cinematographer - February 2017 - 41
American Cinematographer - February 2017 - 42
American Cinematographer - February 2017 - 43
American Cinematographer - February 2017 - 44
American Cinematographer - February 2017 - 45
American Cinematographer - February 2017 - 46
American Cinematographer - February 2017 - 47
American Cinematographer - February 2017 - 48
American Cinematographer - February 2017 - 49
American Cinematographer - February 2017 - 50
American Cinematographer - February 2017 - 51
American Cinematographer - February 2017 - 52
American Cinematographer - February 2017 - 53
American Cinematographer - February 2017 - I1
American Cinematographer - February 2017 - I2
American Cinematographer - February 2017 - I3
American Cinematographer - February 2017 - I4
American Cinematographer - February 2017 - I5
American Cinematographer - February 2017 - I6
American Cinematographer - February 2017 - 54
American Cinematographer - February 2017 - 55
American Cinematographer - February 2017 - 56
American Cinematographer - February 2017 - 57
American Cinematographer - February 2017 - 58
American Cinematographer - February 2017 - 59
American Cinematographer - February 2017 - 60
American Cinematographer - February 2017 - 61
American Cinematographer - February 2017 - 62
American Cinematographer - February 2017 - 63
American Cinematographer - February 2017 - 64
American Cinematographer - February 2017 - 65
American Cinematographer - February 2017 - 66
American Cinematographer - February 2017 - 67
American Cinematographer - February 2017 - 68
American Cinematographer - February 2017 - 69
American Cinematographer - February 2017 - 70
American Cinematographer - February 2017 - 71
American Cinematographer - February 2017 - 72
American Cinematographer - February 2017 - 73
American Cinematographer - February 2017 - 74
American Cinematographer - February 2017 - 75
American Cinematographer - February 2017 - 76
American Cinematographer - February 2017 - 77
American Cinematographer - February 2017 - 78
American Cinematographer - February 2017 - 79
American Cinematographer - February 2017 - 80
American Cinematographer - February 2017 - 81
American Cinematographer - February 2017 - 82
American Cinematographer - February 2017 - 83
American Cinematographer - February 2017 - 84
American Cinematographer - February 2017 - 85
American Cinematographer - February 2017 - 86
American Cinematographer - February 2017 - 87
American Cinematographer - February 2017 - 88
American Cinematographer - February 2017 - 89
American Cinematographer - February 2017 - 90
American Cinematographer - February 2017 - 91
American Cinematographer - February 2017 - 92
American Cinematographer - February 2017 - 93
American Cinematographer - February 2017 - 94
American Cinematographer - February 2017 - 95
American Cinematographer - February 2017 - 96
American Cinematographer - February 2017 - Cover3
American Cinematographer - February 2017 - Cover4
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