Page 61 - Star Wars Insider #175
P. 61
GRAPHIC DISPLAYS
04
05
03 The targeting
computer from
Vader’s TIE fighter
was one of several
interfaces designed
(see opposite page).
04 A closer detail
of the Death Star
trench designed for
the film using the
GRASS system.
05 The Death Star
moves steadily into
range of Yavin 4.
animation cels, making each IN THE EDIT Conversely, among the
one slightly smaller than the traditional backlit graphics
last. That gave us a sequence Ultimately, the Computer Division’s six effects for Return seen elsewhere in the movie,
that was maybe three seconds of the Jedi made their way to editor Duwayne Dunham, there is also an innovative
along with every other effect from the fi lm—some 1,300
long, starting with something computer animation.
shots in total!
that looked essentially fl at, “On a daily basis, I would receive shots, cut them into The sequence can be seen
and ending with a full 30- the right sequence, and organize time so George Lucas on board the Death Star as
could review each shot in its edited sequence,” Dunham
inch circle that I could match it approaches Yavin 4. It was
explains. “George would then give me specifi c comments
to a piece of artwork on the about the effects shots: move this ship two fi elds north, created by Wash, Teitzell, and
Oxberry with the Death Star move this one a fi eld south; add this, take this away; that O’Bannon and the visual effects
totally in frame.” sort of thing. We called some shots ‘CBB,’ as in, ‘Could house Image West, using that
Be Better.’ Those were put on the backburner. If time
permitted, we would go back to the CBBs. company’s Scanimate analog
DEATH STAR DISPLAY “We created a standard form so we could track the computer animation system.
So, in fact, the climax of the status of each shot all the way through to the fi nal, and “With Scanimate,” Wash
groundbreaking Death Star I’d send the forms back over to ILM or whoever with recalls, “the Image West team
George’s notes. Toward the end I think I was being a little
computer graphics sequence could take the image from a
too harsh, even though I was just giving George’s notes.
isn’t a computer graphic at So he said, ‘You know, the guys are really working hard. high-resolution video camera,
all, but a traditional animation They’re up against it. We have to go a little easier.’ and then warp it, twist it, and
“George had the utmost respect and trust from all
(albeit an ingenious one), make it move around. All the
the people around him, and he had the utmost trust and
designed to blend perfectly respect for them, too. If that’s what George wanted, you artwork we put in front of their
with the preceding visuals. were going to give it to him, and top it if you could.” camera was black-and-white,
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