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In this video, we're going to take a look at just a few of the many VFX that went into Obi Wan Kenobi. But, as is the case with the majority of modern productions these VFX wouldn't have been quite as convincing or achieved in such a timely manner without previs work from The Third Floor.
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In addition to blocking and planning shots within each episode across several phases of filmmaking
The Third Floor’s visualization work also included the creation of previs that the team could explore for camera and lighting, with some scenes blocked in real time in game engine.
Image Engine delivered several sequences on the barren and mountainous Mapuzo.
One of Image Engine’s first sequences in the episode captures Obi-Wan and Leia’s craft touching down on the planet. The first three shots of the landing sequence are 100% CG.
Most of episode 3 was shot on location in California, so some shots required extensions rather than full CG creations.
The landscapes were a combination of Lidar, photogrammetry, and hand-sculpted topography.
Image Engine built a whole kit of Star Wars parts for these extensions including plants, rocks, and mountains and these were reused throughout several shots.
They used Houdini to procedurally lay out the windy plants and Joshua trees.
The sequence where Freck transports Obi-Wan and Leia toward the Imperial checkpoint had some unique challenges.
The external shots may seem straightforward enough: just remove the vehicle’s wheels and add a CG extension to the underside, so it looks like it’s floating, right?
But removing the lower parts of the vehicle also meant recreating the plants behind it, adding mountain extensions, and the CG vehicle extension, and any foreground plants, and some CG dust, and some extra Joshua trees and any other foreground action required in the shot.
For the ride-along shots Image Engine used a combination of plates and CG backgrounds. Unfortunately, they didn't have enough contiguous plate footage to cover the length of the journey so they created a full backdrop valley using the real California location.
Of course, the lighting conditions shot on the blue screen didn’t match the on-location lighting shot in California, so the plates had to be prepped and regraded to make everything work nicely.
The checkpoint sequence had a wide variety work, vehicle work, laser blasters, dust FX, environment extensions, and full CG shots.
They tried to keep as many practical elements as possible (like the on-location shoot, the Mining Rover, the tower, and Freck as the alien) to help ground the sequence in reality
For the Stormtrooper death shot, they layered a combination of sparks, heat, embers, smoke, and dust elements in order to give the effect enough realism without making it too disturbing.
In episode five, Obi-Wan and Leia escape to the rocky planet of Jabiim.
One of Image Engine’s sequences involved showing Vader’s two Imperial transports swooping down through crimson clouds towards the scattered, crater-like Path base.
The hardest part was giving the planet the characteristic "Star Wars" look.
They did this by using every other planet seen in previous Star Wars movies and television shows as reference.
The other important aspect of obtaining that "Star Wars" feel was the camera language.
They had to make sure the camera felt confined to the sort of motion control moves you could only achieve with miniature model shoots.
Hybride artists created desert set extensions, that stretched approximately 30 meters wide, for the Tatooine Canyon environment using concept art provided by Doug Chiang
The rock structures needed to be smooth and not too busy so they would blend in with the rock structures used on set during filming.
Hybride also recreated massive set extensions and extended backgrounds for the cliff environment, keeping as much of the foreground detail as possible.
Hybride artists also helped transform a camel named Silas into a Tatooine Eopie (a mammalian herbivore native to the planet).
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