Solo: A Star Wars Story

Client: ILM

Format: Feature Film

Release Date: 24th May 2018

Brief: Jellyfish Pictures worked on just over 100 shots for the second anthology film in the Star Wars series, following Rogue One: A Star Wars Story. Jellyfish were given three sequences from its client ILM to work on for the film.

First tasked with extending the interior of Dryden’s ship, Jellyfish rebuilt the internal environments and integrated pupperteered creatures in to the sequence. One particular animatronic singing fish required a lot of plate surgery including reanimating, clean-up and realignment so not to sit in front of other characters. Jellyfish created animated microphones that glowed and pulsed matching in time and amplitude, animated CG bubbles and rebuilt the tank glass. To further seamlessly integrate the shot, the team were able to use extensive plates shot from all angles of Dryden’s yacht, which provided them with the information to create a new clean environment to help remove unwanted rigs, handlers and reflections to sell the fish as floating and singing in a realistic way.

The next sequence charged to Jellyfish to work on was the tension filled train heist sequence. The team worked on green screened shots filmed in the studio which required extensive regrading, crucial to ensure the lighting matched the exterior setting. Combining CG and a lot of 2D compositing, all shots required mountain environments recreated from the Dolomite shoot references to be seamlessly integrated into the background behind the hero characters. Blending these into the cold setting of the sequence Jellyfish built blustering snow fx, additional frosting and partial foreground train set extensions.

The final sequence Jellyfish worked on was the famous Kessel Run. Being Jellyfish’s largest sequence in terms of shot count, the work consisted of interior set extensions of the Millennium Falcon as well as creating the exterior environment and instrument panel builds. Extensive regrades were also crucial to ensure the lighting continuity flowed from tunnel to storm to Maw. Combining CG and a lot of 2D compositing, Jellyfish built all glass on the ship, the rain that ran down it, reflections and the exterior space environment.

In addition to this, in a lot of the shots doorways in to the Falcon were blue screened, calling for Jellyfish to build lightweight layouts, using Nuke to re-project the corridors back in behind Han and his crew.

ILM / Lucasfilm


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