Revenge of the Sith
Scene L58: Analyzing a Scene (0.49)
70,441 Man hours
Virtual Blueprint (120 Pages)
‘What are they doing?’, ‘Why are they there?’
Mustafar Scene: 3-4 Pages. (3 weeks to write).
Lightsaber duel. Turning point of movie.
2: CONCEPT ART DEPARTMENT
Supervisors: Erik Tiemens/Ryan Church
Creates Planets, Spaceships, Enviornments, Creatures.George picks each individually.
Ralph McQuarie, Doug Chiang (Sketches)
Ian McCaig. Variations to hone in on look. Need variety of Design.
Ryan Church. George was rewriting script as he saw the new Art and Environments.
Marker Sketchboard for Review.
You should know where you’re at and what you’re looking at very quickly.
First Draft: April 13, 2003
Spielberg helped with the Pre-Viz.
They take the Concept Art. Design and make a moving Storyboard mixed with Live Action. Everything ILM does but at a base/lite level. Fast and Flexible. Videomatics/Animatics.
*Design the Shot for the Sequence.
‘Action figure sliding on floor.’
Compiling a shopping list of stuff.
Play with this. Its like a performance with actors. Find what works and doesn’t. Add/Subtract.
24 Shots of ENV. Everything else are headshots. Alot of freedoms at this stage for Cinematography. At the end, you have a tight version of what the action sequence will look like. More storyboard sequences.
*Its all Edited as it will be edited in the movie.
4: Production Office
5: Catering: 700 people-12hrs/day.
6: Production Design: Concept to real world. Set Design.
7: Construction: 600 people overseeing sets. Carpenders, Riggers, Steel Riggers, Steel Risers, Plasters, Molders, Painters.
8: Props: Designs built. 80-90 people.
9: Hair and MakeUp
11: Actors: Bring script to life. Has to be believable.
Artist and Oversees everything.
Goes thru all scenes and plans out lighting sphere.
‘Give pixels more personality.’
Used 2 Cameras for different angles
Capture images digitally. Store all the files properly backed up.
14: SOUND RECORDING
Sound captured correctly A guide track to re-record during post-prod.
Shapes Overall Vision. Puts all clips to make a movie. George’s fave. 2 Editors and George to make a 2 1/2 hour movie.
18 months of Editing.
Kind of starts over. Bins collected. Refs cut with George on Unity Systems.
Script is a starting point. NOt a Bible. A beginning point. Its Sculpting. Its like writing all over again and there are Re-Shoots. (PostProd).
You go thru another phase of animatics.
This is all conceiving. Rough Composition and Action.
A Blueprint for ILM. ILM makes it all better.
They captured all the shot setups, positions, lenses, and gear (ADs).
18: 3D MATCHMOVER/LAYOUT
Accurately recreates perspective of cam. Easy to lose in Bluescreen. Captures the Angles. XYZs. Rebuilt in virtual and makes a game rez version before final.
Creates Digital Characters.2146 EFX Shots
1267 Animated Shots.
20: DIGITAL ENVIRONMENT/MATTE PAINTING
Extracting Real World with Comp Images. A great backdrop.
Extracting images/video to digital.
25K Painting. Then animate the picture.
A 3D Scene. Shadows/Reflections. 2-3 weeks. Philippe Bebours
22: DIGITAL MODELING
A digital construction. Builds and Textures everything.
23: PRACTICAL MODELS AND MINIATURES
24: MOTION CONTROL:
Capturing a Mustafar Minature. Lighting and Composition.
Individual Elements. Separated from the Blue Screen. Alot of Paint and Mattework.
Brings it all together. Seemlessly blends everything. Last chain.
27: SOUND DESIGN:
Ben Burdtt. Re-read dialogue, sound fx. Cutting the Fx and Mixing.
29: SOUND MIXES
Finds right balance. 200 tracks together in PT. No Pre-Mixes. All files accessible to intricate detail.
30: FINAL SCREENING
138 Total Scenes reviewed before deadline.