![]() ![]() It was pre-viz animation of each section of the battle sequence. John Knoll and Alan Tudyk, in his mocap costume, on the set of Rogue One: A Star Wars Story. There’s lots of ways to achieve that, but when you’re in space with spaceships, the only real way to do it-unless you’re doing what George did, which was taking footage of WWII aerial combat that would represent the final shot-is what John Knoll and Industrial Light & Magic were pushing for. The trick with VFX is having that opportunity, and going, “this was the plan, but now that the ingredients are here in front of us, doing this would actually be better.” So figuring out a seamless way to do that without it being painful for the artists is important. The light hits objects in this space a certain way, and going in, you knew you’d do a close up of someone’s face, but if you were to have them look down a little bit, and maybe move to the right, suddenly you have this beautiful composition that you wouldn’t have found with storyboarding. ![]() ![]() Whereis, in the real world, what you tend to do is you have a space, because it already exists. I find that storyboarding shots is really useful, but at a certain point it becomes somewhat limiting, because you’re having to invent every single detail about that shot. The downside to that is that they can ask for things or approach scenarios in such a way that is really back-to-front, and doesn’t produce the best result. My entryway into filmmaking was through visual effects, so I understand it a bit, but a lot of VFX is kind of dark arts, which causes clients to come to visual effects companies and see VFX as magic, because no one understands what they do. John Knoll was very crucial for this, because he and the team at ILM devised a virtual environment where we could go in and look for shots. Tell me about the freedom you found in the virtual production-aspects of Rogue One? ![]() Gareth discussed the cutting-edge virtual production used for the film, and the ways in which George Lucas inspired him as a filmmaker. Join Gareth Edwards and the Publicity Group at Industrial Light & Magic as we look back at his time directing Rogue One: A Star Wars Story. Gareth Edwards on the set of Rogue One: A Star Wars Story. ![]()
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