Projects IMAGE Solo3

Solo: A Star Wars Story

Client
ILM
Format
Feature film
Release Date
24th May 2018
Brief

Deliver over 100 shots across three sequences for the second anthology film in the Star Wars series following Rogue One: A Star Wars Story.

Projects IMAGE Solo2
Projects IMAGE Solo4

First tasked with extending the interior of Dryden’s ship, the team rebuilt the internal environments and integrated puppeteered creatures in to the sequence. One particular animatronic singing fish required a lot of plate surgery including reanimating, clean-up and realignment to prevent it sitting in front of other characters. Jellyfish created animated microphones that needed to glow and pulse to match in time and amplitude. Animated CG bubbles were created and an entire rebuilding of 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.

Projects IMAGE Solo6
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The next sequence charged to our team was the tension-filled train heist sequence. The team worked on green-screen 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 needed DMP mountain environments which were created from the Dolomite shoot references. These were then 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 Pictures worked on was the famous Kessel Run. This was the largest sequence in terms of shot count. The work consisted of interior set extensions of the Millennium Falcon, creating the exterior environment and instrument panel builds. Extensive regrades were required to ensure the lighting continuity flowed from tunnel to storm to Maw. Combining CG and 2D compositing, the team built all glass on the ship, the rain that ran down it, reflections and the exterior space environment. In addition to this, a lot of the doorways into 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.

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