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As CGI characters have progressed, these kinds of problems no longer exist-and we have the Star Wars franchise to thank for the stunning realism of characters seen in films like Avatar and The Lord of the Rings trilogies. For many viewers, these technologies were not yet quite advanced enough to seem utterly real, and this may be one reason viewers did not connect with him as much as they had other alien characters in the past. The actor who played him, Ahmed Best, was one of the first actors to test the limits of the motion capture technology Lucas was using. However, the results weren’t always positive, and this divorce from the physical world may be a key reason why the prequels weren’t as loved as the original trilogy.įor example, love him or hate him, Jar Jar Binks was among the first all CGI creations to hit the screen. This freed them from the laws of physics to the expensive and time-consuming process of building things by hand.
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Understandably, as filmmakers and art directors were no longer limited by the physical world around them, they were free to create entire worlds digitally. In other words, in the original trilogy ILM invented and physically created the places and things they wanted to show in the second trilogy, they built the same fully rendered spaceships, cities and characters using computer-generated imagery (CGI). In Episode I: The Phantom Menace, the land speeder was back, but it and all of the other effects were digitally created and added by a visual effects (VFX) compositor team in post-production. In contrast to the physical world of the first trilogy, the tool kit for the prequels was almost all computer-based. Having already created the basic special effects tool kit for the first trilogy, the ILM team approached the second trilogy in a new way and shifted from using physical elements like animatronics, models and practical effects to digital effects. The Prequels: Episodes I through III, 1999 – 2005 This idea was new at the time of the first trilogy, but has appeared in almost all sci-fi and fantasy films since for one very important reason: this technique provides context and a sense of ongoing lives, people and places for viewers, which gave the futuristic/alternative society more credibility and believability that this universe could exist. The goal was to make the places and things built for the film seem real by showing them not as shiny and new, but looking well-used. Lucas and his team found a way to use animation, amazingly detailed miniatures and computer-controlled motion photography to generate special effects.Įach object and location physically created in this trilogy was created not only to look impressively futuristic, but to blend old- and new-looking elements. Also, Luke’s land speeder was able to look as if it was gliding across the sand by using wheels hidden with mirrors that reflected nothing but the sand around them. The scenes of Luke in Uncle Owen’s home dug out of the ground were shot in Tunisia, a North African country on the Mediterranean Sea. Right: Yoda puppet.įor example, in the first trilogy, the exploding Death Star was created using cardboard and bits of titanium, and Yoda was an animatronic puppet. Left: George Lucas poking the Death Star’s belly button. In order to achieve a sense of realism to attract viewers, Lucas and his team found a way to use animation, amazingly detailed miniatures and computer-controlled motion photography to generate special effects.
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In the late 1970’s filmgoers were lining up to see grittier, more realistic films like Taxi Driver no one was ready for a movie with a completely fantastical story set in space that was, in spite of all of that, realistic looking. When Lucas conceived of the Star Wars stories, there was no way at the time to make any blockbuster movie filled with aliens and explosions set in space seem real. Their goal was to achieve the new, higher-level realism Lucas envisioned. During the production period for the movie, ILM-headed by special effects designer John Dykstra- constructed robots and spaceship models from scratch.
Computer generated imagery (CGI) barely existed in 1977, and Lucas and his team went on to transform the visual effects industry and set the new standard for the years to come.įor the 1977 Episode IV: A New Hope release, Industrial Light and Magic (ILM) was formed. In these first films, much of the visual effects work involved actual physical creation of models, puppets, and sets. So how did they do it? Trilogy I: Episodes IV through VI, 1977 – 1983 In fact, even the visual effects technology to portray this universe was in its infancy.
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It was an epic challenge, because Lucas had envisioned an entire universe full of creatures, spaceships and technologies that didn’t exist yet.
In 1977, George Lucas and his team changed the way we saw and created movies forever. A Star Wars franchise breakdown of special effects
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