- Feature film
- Release Date
- 13 December 2016
Collaborate with director Gareth Edwards, and ILM to deliver post-vis on around 500 shots for Rogue One: A Star Wars Story, working on an additional 150 shots for the final film.
Jellyfish Pictures joined the 'Rogue One' production for a period of 9 months during which time we worked on over 500 shots. In some cases, these shots had multiple briefs to accommodate variations in the edit as the story was massaged into shape. To keep the shots pliable in the edit these shots had head and tail handles, which meant they could run into several hundred frames resulting in lots of very long shots. With a small team of experienced compositors, we were nimble enough to execute these shots to a very high level allowing for the edit to be as representative of the final film as it could be. This led to production making better informed and more precise editorial decisions. Working closely on a daily basis with the film’s producers, editors and director Gareth Edwards meant that feedback was given with great accuracy resulting in a tremendous level of efficiency when iterating versions.
Working alongside the concept art team, ILM and The Third Floor meant that although our work was primarily compositing, there was a great amount of variety within that. Quite often concept art was used as the foundation to create elaborate 2.5D matte paintings and in some cases entire sequences. These eventually would become completely CG, and were able to be created from scratch without the basis of photography. Working collaboratively with ILM and the The Third Floor, assets, animation playblasts and precomps were regularly shared with our partners. As the show went through production and reshoots came around, we also got involved in animating storyboards to act as previz.
For a sequence onboard a U-Wing that featured the characters travelling through hyperspace, there were about 20 shots where we enhanced and replaced the interior windows. Large LED screens were used on-set to represent what would be seen through the windows. A lot of the time these shots were achieved in camera, however a handful required a helping hand from visual effects and that's where Jellyfish came in.
We used LIDAR of the set to help us build a model in Maya that represented all the windows of the spaceship interior. The window geometry was textured in Nuke to add grime and dirt, creating the 'lived in' feel from the Star Wars universe. ILM supplied our team with a render of the 'hyperspace tunnel', which was projected onto geometry in a Nuke scene. All of this was rendered through a camera supplied by matchmove. The extreme contrast in the 'hyperspace tunnel' was used to drive interactive lighting effects that fed through the window dirt and grime which created the desired result.
Jellyfish Pictures were our secret weapon. They were right on the frontline with us in post, always going the extra mile. Their artistry and incredibly efficient approach to VFX allowed me to constantly experiment and find new cinematic approaches to any shot.”