The Mandalorian Season 1 VFX Breakdown by Image Engine
Image Engine, With his cold demeanor and inscrutable T-shaped visor, Boba Fett achieved cult status among Star Wars’ legions of fans. Nevertheless, the backstory of his people received little more than lip service; Fett wore the armour of Mandalore, but the story of his heritage went only skin deep. Disney+ launch show (and the first-ever live-action Star Wars television series) The Mandalorian sets out to remedy this. It takes audiences further below the surface of Mandalorian martial culture via the experiences of one lone gun-for-hire as he seeks to earn his living. Image Engine went along for the ride, handling 441 shots that tell the tale of this bounty hunter and the people from whom he hails.
The Mandalorian takes place in a galaxy bereft of order. The Rebels have destroyed the Death Star MK. 2, the Empire has fallen, and the embers of the celebratory Ewok fires have long since died down. And yet, with no dictatorship to impose its will, society has collapsed like a dying sun. Into the shadows crawl all sorts of villainy and scum – and those that seek to stop them.
Taking place after The Return of the Jedi and before The Force Awakens, The Mandalorian shows us a new Star Wars galaxy; one where crime is rife and violence a commodity. It’s a lawless world with all the moral solvency of a Spaghetti Western. And it’s against this backdrop that our Mandalorian – “Django Fett”, if you will – sets out on a new and brutal adventure.
Image Engine swung through the saloon doors to take on 441 shots across this story, from animating droids to building bounty hunter battles on far-flung worlds.
“For a television schedule, it was a substantial amount of work,” says Cara Davies, VFX producer. “Nevertheless, we wanted to do justice to the universe that Lucasfilm built over the past four decades. We wanted to bring the kind of eye-opening sequences fans have come to expect from big-screen Star Wars to the smaller screens at home.”
Image Engine split its body of work into three separate groups, treating each with the care and attention afforded to independent projects. Each group had its own compositing leads and CG supervisors, and Shane Davidson and Robin Hackl ensured cohesion as overall compositing and VFX supervisor, respectively.
From there, the studio rolled up its sleeves, loaded its laser blaster, and jet packed into action.
Source: Image Engine
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