Janet Lewin has been with Industrial Light & Magic for nearly three decades, but she still has the same youthful vibe as he does. A visual effects company based on Star Wars was founded. While Lewin wasn’t part of the ground-zero team that brought George Lucas’ galaxy away to life in 1977, ILM has helped put her signature on films venturing in and out of the Star Wars series. In fact, some of her proudest moments came in a movie that has no connection with any current franchise.
“For me, my most prominent personality traits were working with Dennis Morin and Ang Lee the structureLewin told ComicBook.com. This was a real opportunity to get close to a filmmaker who moved to ILM to be a part of the filmmaking process. I learned a lot from that experience.”
All roads in ILM tend to go back to Star Wars, and this is exactly where Lewin found herself two years after Ang Lee the structure.
“I think being a part of Star Wars reruns after being a producer in Revenge of the Sith With George this was a wonderful opportunity to bring the franchise back to life in a new way,” Lewin continued. It was really exciting and inspiring for me. “
Today, Star Wars has expanded its galactic power to serial television, featuring live shows for the first time in Lucasfilm’s history. Lewin confirmed to appear like The Mandalorian They make history beyond just being there: they are game-changers in how they are made.
“I suspect The Mandalorian It is another example to highlight and evolve in the way we approach filmmaking,” Lewin said. to be a part of Mandalorian The first season, stageCraft Volume execution and partnering with Jon Favreau and his amazing team in filmmaking was just a great opportunity for me.”
The MandalorianThe implementation of StageCraft, aka folder, has been a long time coming. Virtual production stage concepts have been floating around Lucasfilm for years, and once StageCraft launched its Pedro Pascal-led award hunter series, studios couldn’t wait to get hold of it. movies from Batman to me Thor: Love and Thunder They used the volume to bring their larger-than-life landscapes to the big screen.
While the volume speeds up the post-production process, it still holds its fair share of challenges.
“I think it made it more difficult and easier, but I will say that basically, the whole paradigm shift is moving the visuals before production. For it to really pay off, you need to get all your designs done up front, in terms of the final content that you’re going to show in high definition, in real time. , in the folder, everything must be done before filming,” Lewin said. “This is a huge investment in time and resources to make it in class before filming, but in the day the director, program director, visual effects supervisor, and production designer, everyone can make creative choices using real, real content, not just talking with sticks and arrows on a blue screen. When you’re working Well, you get all this in-camera footage that requires very little post-production.This can result in huge savings in visual effects and time, but moreover it just looks better.It’s higher quality results because the filmmakers are out there They make these decisions as a collaborative team. They don’t hand over the final tasks and lose the intent to work.”
No matter how much preparation before filming, Lewin said she still saw filmmakers get that creative spark as production went on.
“That doesn’t mean you can’t be an inspiration back in the day,” Lewin continued. “It happens all the time when we’re planning to shoot something a certain way and the filmmakers get in there and change it. It still happens all the time, but it’s more of them being able to design together that really elevates a craft.”
as proven The MandalorianTechnological advancement, ILM is ready for any challenge. This was especially evident in the recent launch of ABBA Voyage, a music experience that turns “Dancing Queen” artists into digital avatars.
“Nothing like this has happened before,” Lewin said. “We can only do our best to estimate what it will take. That’s what we do over and over again. We take these leaps of faith in these groundbreaking projects that we believe in and fall behind. Like [Executive Vice President and General Manager of Lucasfilm] linwin [Brennan] He would say, this is an example of that who was a judge of nails. Will we be able to access this bar? Do we have the right resources? Do we have the right pipeline? We have incredible mental confidence in talent and a lot of what makes ILM such a great place to work is that we all huddle behind each other. There is no stand-alone display. When there is a problem, we bring in mental confidence and talk about how we deal with this. This is an example of one where we’ve tried a lot of different techniques and come out really successful.”
ILM’s revolutionary work in the entertainment industry can be explored at light and magica six-part documentary series chronicling the company’s evolution, is now airing on Disney+.
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