4/10/2023 0 Comments Star wars attack of the clones![]() Using a digital camera meant that a live feed of the high-definition footage was available to view in the moment from large plasma screen televisions on the set. Cast and crew could view instantaneous results live on set. Even in the sun-baked deserts of Tunisia, they worked.Ģ. The crew had to relearn their jobs, and the set was buried in miles of cable, but they worked. The four cameras arrived (serial numbers 00001 to 00004) only days before the commencement of shooting. Lucasfilm had barely a year to finalize their design with Sony, which included custom lenses built by Panavision. The new cinema cameras were first-of-their-kind prototypes. This intrepid effort involved engineers from multiple continents, collaborating with Lucasfilm’s staff, including high-definition supervisor Fred Meyers, post-production and technical supervisor Mike Blanchard, and cinematographer David Tattersall. Select pick-ups from that movie were then captured using one of the company’s digital cameras, and were seamlessly integrated with the rest of the film.įor Attack of the Clones, Lucasfilm convinced Sony to develop cinema cameras that captured digital footage at 24-frames per second, the same as traditional film cameras. Lucasfilm first used Sony’s “digi-beta” cameras to shoot behind-the-scenes material on The Phantom Menace. Video-based camera systems had been commonplace in broadcast media and other fields for years, but faced skepticism among some feature film cinematographers and directors. The ability to digitally capture, transfer, and edit motion-picture footage would drastically increase the efficiency and flexibility of the filmmaker, something Lucas was eager to do. The resolution of this imagery needed to at least match - preferably exceed - the quality of standard 35mm film. To create a motion-picture without photographic film, Lucasfilm needed a camera equipped with digital sensors that captured and stored imagery on high-definition tape. It employed the first digital cinema camera. Here are four ways that Episode II helped change filmmaking at the dawn of the 21st Century.ġ. Star Wars: The Phantom Menace (1999) would inch closer to this goal before Star Wars: Attack of the Clones (2002) finally achieved it. ![]() As he returned to Star Wars with his new prequel trilogy, George Lucas was committed to making a feature-length film with entirely digital tools, both to free his own creative abilities and to demonstrate that it could be done at the level of an effects-heavy blockbuster. The Star Wars films, among other Lucasfilm productions, granted opportunities to test and experiment new methods.īy the 1990s, Lucasfilm had helped introduce digital non-linear editing for both picture and sound, computer-graphics visual effects, and digital pre-visualization. ![]() After years of working in the traditional method, he was convinced that every aspect of filmmaking could be easier, from pre-production and principal photography to post-production and distribution. Lucas was motivated as much by common sense as a boldness to innovate. Year by year, project by project, George Lucas pushed Lucasfilm to change that process. The finished reels were then spooled into a projector and screened inside a theater. Those images and sounds were edited into sequence by physically cutting and rejoining pieces together. Cameras photographed images on physical rolls of film (as did the microphones for soundtracks). To celebrate the movie’s 20 th anniversary, presents Clones at 20, a special series of interviews, editorials, and more.įor a century, the technology of filmmaking remained largely the same. The middle chapter of the prequel trilogy, Star Wars: Attack of the Clones, arrived May 16, 2002. The second installment of the prequel trilogy ushered in major innovations. ![]()
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