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Each phase of photography — photogrammetry and scanning — needs to be done at various times during the day to capture different looks to the landscape. I was very encouraged by my experiences using similar technology on Jungle Book [ AC, May ’16], and using virtual cameras on The Lion King [ AC, Aug. ’19],” explains Favreau, series creator and executive producer. “I had also experimented with a partial video wall for the pilot episode of The Orville. With the team we had assembled between our crew, ILM, Magnopus, Epic Games, Profile Studios and Lux Machina, I felt that we had a very good chance at a positive outcome.” The Virtual Art Department starts their job creating 3-D virtual sets of each location to production designer Andrew Jones’ specifications and then the director and cinematographer can go into the virtual location with VR headsets and do a virtual scout. Digital actors, props and sets are added and can be moved about and coverage is chosen during the virtual scout. Then the cinematographer will follow the process as the virtual set gets further textured with photogrammetry elements and the sky domes are added.

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The technology that we were able to innovate on The Mandalorian would not have been possible had we not developed technologies around the challenges of Jungle Book and Lion King,” offers Favreau. “We had used game-engine and motion-capture [technology] and real-time set extension that had to be rendered after the fact, so real-time render was a natural extension of this approach.” We should’ve known things would wrap up this way the instant that Boba Fett (Temuera Morrison) moseyed into The Mandalorian and pulled focus from Mando. Miraculously disgorged from the Sarlacc pit that devoured him in Return of the Jedi (a silly twist canonized in spinoff properties), Fett had come to reclaim the armor sported by one of The Mandalorian’s most charismatic new characters, a Tatooine marshal (Timothy Olyphant) who wore Fett’s gear like a knight riding into battle against a dragon (actually a sandworm/sand-shark monster). But Fett was really onscreen to reclaim The Mandalorian for that sector of the Star Wars fan base that refuses to accept anything that feels like a revision, subversion, or expansion of what they already know they like — particularly when the new iteration asks them to look beyond all the lovely, shiny things onscreen and think about whether their own relationship with the tried-and-true elements of Star Wars is healthy. Enrico Damm became the Environment Supervisor for the production and led the scanning and photogrammetry team that would travel to locations such as Iceland and Utah to shoot elements for the Star Wars planets. We chose the LF for a couple reasons,” explains Fraser. “ Star Wars has a long history of anamorphic photography, and that aspect ratio is really key. We tested spherical lenses and cropping to 2.40, but it didn’t feel right. It felt very contemporary, not like the Star Wars we grew up with. Additionally, the LF’s larger sensor changes the focal length of the lens that we use for any given shot to a longer lens and reduces the overall depth of field. The T2.3 of the Ultra Vistas is more like a T0.8 in Super 35, so with less depth of field, it was easier to put the LED screen out of focus faster, which avoided a lot of issues with moiré. It allows the inherent problems in a 2D screen displaying 3D images to fall off in focus a lot faster, so the eye can’t tell that those buildings that appear to be 1,000 feet away are actually being projected on a 2D screen only 20 feet from the actor. Fortunately, says Fraser, Favreau wanted The Mandalorian to have a visual aesthetic that would match that of the original Star Wars. This meant a more “grounded” camera, with slow pans and tilts, and non-aggressive camera moves — an aesthetic that helped to hide the system latency. “In addition to using some of the original camera language in Star Wars, Jon is deeply inspired by old Westerns and samurai films, so he also wanted to borrow a bit from those, especially Westerns,” Fraser notes. “ The Mandalorian is, in essence, a gunslinger, and he’s very methodical. This gave us a set of parameters that helped define the look of the show. At no point will you see an 8mm fisheye lens in someone’s face. That just doesn’t work within this language.Journey to the outer reaches of the galaxy and relive the adventures of The Mandalorian and the adorable Grogu with this officially licensed Star Wars masterpiece. Featuring iconic artwork that captures the essence of this epic series, this light-up canvas is a must-have for any fan of the Mandalorian mythos. Scanning is a faster, looser process than photogrammetry and it is done from multiple positions and viewpoints. For scanning, the more parallax introduced, the better the software can resolve the 3-D geometry. Damm created a custom rig where the scanner straps six cameras to their body which all fire simultaneously as the scanner moves about the location. This allows them to gather six times the images in the same amount of time — about 1,800 on average. A variation of the LEGO Minifigure baby, Grogu has appeared in 4 sets now, appearing the same each time. It is one of the most adorable minifigures I have ever seen, from the sand green rubbery head to the infant’s torso. While not unique, it is good to see it here. The Build

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The cameras used for scanning were Canon EOS 5D MKIV and EOS 5DS with prime lenses. Zooms are sometimes incorporated as modern stitching software has gotten better about solving multiple images from different focal lengths. When you think about it, unless it’s a practical light in shot, all of our lighting is outside the frame — that’s how we make movies,” Fraser continues. “But when most of your lighting comes from the environment, you have to shape that environment carefully. We sometimes have to add a practical or a window into the design, which provides our key light even though we never see that [element] on camera.” As well as the plates, we also have a collection of sloped elements, going towards building up the conning tower, as well as the rear upper plating. Between the upper and lower plating, we set up some greeblling and frontA majority of the shots were done completely in camera,” Favreau adds. “And in cases where we didn’t get to final pixel, the postproduction process was shortened significantly because we had already made creative choices based on what we had seen in front of us. Postproduction was mostly refining creative choices that we were not able to finalize on the set in a way that we deemed photo-real.”