It would have been foolish to ignore the contemporary technology that’s available to a modern filmmaker.” But you’re still obviously doing a Star Wars movie. We really set out to build as much as we could in-camera and to go to as many locations as we could – and photograph as much in-camera. So invariably they would do things like build sets. “If you think about the environment those films were shot in, they were clearly shot at a time where it was harder to do visual effects. “People clearly wanted some kind of return to the DNA of those first three movies,” suggests overall visual effects supervisor Roger Guyett. We also have a bonus interview with stereo conversion house Stereo D. Along with partner studios Virtuos, Hybride and Base FX, ILM – itself working between San Francisco, London, Vancouver and Singapore – delivered around 2,100 visual effects shots for The Force Awakens, many of them seamlessly blended into practical sets and creatures and alongside special effects, all crafted together into a film that has reignited enormous interest into the franchise. And continuing its tour de force in that world is of course Industrial Light + Magic (ILM). Abrams’ venture into the Star Wars universe is the first of many to come. Delicately straddling the balance between conjuring up the nostalgia of the Original Trilogy while also bringing new characters and relationships into the fore, J.J. Star Wars: The Force Awakens has been nothing but triumphant at the box office since its release in December last year.
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