Richard: Everything else was displayed on the screen. According to Richard, only the desk, the floor, and one or two columns were really there. In a scene like this, surely they just built a simple set, right? Wrong. Take this scene in the office of The Client, played by Werner Herzog. But virtual sets help with practical concerns too. So realistic lighting from the LEDs makes the show look better. Narrator: This green screen spill would've been an even bigger problem than usual for "The Mandalorian," whose main character gets a shiny new suit of armor early on in the season. So you can really make it feel like the characters are embedded in their environments. And we call that "spill." If you wrap an actor with a big 360 LED wall, you can light in a way that you would never be able to do on a green screen. And what that does is that instead of projecting beautiful lighting for what the environment would be behind you, it basically puts a lot of green light on you. Kim Libreri: The problem with the green screen is that you have to have a green screen behind you. To better understand that, we talked to Kim Libreri at Epic Games, creators of Unreal Engine, which was used to build the virtual sets for "The Mandalorian." They are also able to completely avoid the problem of spill. The light coming from the LEDs provide realistic colors and reflections on the actors and props, something you simply can't achieve with green screen. Narrator: That's Richard Bluff, Industrial Light and Magic's VFX supervisor for "The Mandalorian." He says lighting is one of the key benefits of working with virtual sets.
#PARALLAX EFFECTS ON STAR WARS UPRISING TV#
Richard Bluff: We've all seen movies, TV shows, where the lighting on the day didn't necessarily match the post-production work that was added many, many months later. Now that LED screens can move with the camera's eye, virtual sets can solve a bunch of green screen problems. This allows motion-tracked cameras to execute traditional cinematography techniques within the virtual set, achieving cinematic movements like the parallax effect, where an object in the foreground moves at a different speed than the background, amplifies the illusion of filming at an actual location. So if the camera swings around and changes angles, the background shifts in precisely the same way. Artists can create a photorealistic 3D background that moves strictly with the camera's field of view, known as the frustum. That projected footage can't move with the camera.īut by using Unreal Engine, tech borrowed from the video game field, that problem is solved. Say you want to move the camera angle during the scene.
No." You've got the actor in the car and behind them, a screen with footage of the road they've traveled.
The predecessor to what we see on "The Mandalorian" is a driving scene like this one, from "Dr. Now, you may be thinking, 'This isn't so new, I've seen something like this before.' And you're right, kind of. For "The Mandalorian," LED wall technologies seemed like the next logical step given the show's production budget and time frame. "Mandalorian" showrunner Jon Favreau revolutionized virtual production while directing "The Lion King" and "The Jungle Book." However, the process for these two remakes still relied heavily on blue screen and post-production work.
But to understand why the team behind "The Mandalorian" chose these LED screens, we have to understand just how they work. LED walls make the lighting better, filming smoother, and in certain cases, cost a lot less than using green screens. And the benefits for the actors are just the tip of the iceberg. "The Mandalorian" is one of the first major productions to choose LED walls over green screens. All of this is just LED screens displaying backgrounds pre-made in a video game engine.Ĭompare that with this fight scene from "Avengers: Endgame." Where actors jumped around in a sea of green, imagining how VFX artists would make this planet look once filming had ended. Narrator: While filming this scene from Disney's "The Mandalorian," the actors could see their surroundings, but the surroundings weren't actually there. Account icon An icon in the shape of a person's head and shoulders.
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