| John Knoll is at it again, and continues to redefine the barriers
in which platforms do what. I now have it on good authority that the CGI
spaceships are being rendered with Elictric Image Animation System on Macintosh
render farms. Cheaper than SGI? I think so. |
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An extract from the internet version of the trailer depicts
a new flight path for the Falcon. A much more dynamic shot, which was a
lot more difficult to try in 1977 with early motion control.
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Whoa! Welcome to Yavin 4. Excellent use of digital matte painting
to expand this shot! We can assume Photoshop or Matador paint, depending
on the color needs of the scene. In the IMAX film, the mos Eisley sequence
used photoshop for the process.
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Compare it with the original from 1977!
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| This shot finally has some life to it. The fella can now scan the moving
spaceship in the background. You begin to feel that most of the fixes are
cosmetic, rather than thematic. Good. I hope that these FX do not detract
from the story, but rather enhance it. |
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| Interesting to see this next sequence coming together. They
added a 7 second delay to the opening of the wings, or so the reports go.
Understand that there will be hundreds of more spaceships attacking. |
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Kinda like this:
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The shot progresses between the previous frame and this one. Pretty close for fine inspection--that
takes guts. Despite the quality of the picture, it gives you an idea of
the kind of detail worked into these models--or at least the ones in close-up.
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Compare this with the previous version below. See the difference?
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| Again we extract images from the internet trailer. New battle
shots--again dynamic and exhillerating! |
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