American Cinematographer - February 2020 - 22
This Is the Way
p Mando goes after the Jawas who dismantled
his ship. t Mando stands in a canyon on the
planet Arvala. The rocks behind him are on the
LED wall, while some practical rocks are placed in
the mid- and foreground to blend the transition.
The floor of the stage is covered in mud and rocks
for this location. On the jib is an Arri Alexa LF
with a Panavision Ultra Vista anamorphic lens.
22
nology with extreme effectiveness.
The shot starts with a low angle of
Mando reading a sensor on the icy
planet of Maldo Kreis; he stands on a
long walkway that stretches out to a
series of structures on the horizon.
The skies are full of dark clouds, and
a light snow swirls around. Mando
walks along the trail toward the
structures, and the camera booms up.
All of this was captured in the
Volume, in-camera and in real time.
Part of the walkway was a real, practical set, but the rest of the world was
February 2020
the virtual image on the LED screen,
and the parallax as the camera
boomed up matched perfectly with
the real set. The effect of this system
is seamless.
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, photoreal 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-resoluAmerican Cinematographer - 100 Years
tion 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.)
Each Volume load was put into
the Unreal Engine videogame platform, which provided the live, realtime, 3D environment that reacted to
the production camera's position -
which was tracked by Profile
Studios' motion-capture system via
infrared (IR) cameras surrounding
the top of the LED walls that monitored the IR markers mounted to the
production camera. When the
system recognized the X, Y, Z position of the camera, it then rendered
proper 3D parallax for the camera's
position in real time. That was fed
from Profile into ILM's proprietary
StageCraft software, which managed
American Cinematographer - February 2020
Table of Contents for the Digital Edition of American Cinematographer - February 2020
Contents
American Cinematographer - February 2020 - Cover1
American Cinematographer - February 2020 - Cover2
American Cinematographer - February 2020 - 1
American Cinematographer - February 2020 - Contents
American Cinematographer - February 2020 - 3
American Cinematographer - February 2020 - 4
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American Cinematographer - February 2020 - Cover3
American Cinematographer - February 2020 - Cover4
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