With The Mandalorian, cinematographer Greig Fraser brought the beauty and staggering scale of Star Wars to TV, helping to develop a piece of virtual production technology that will play a major rol…
’s very related to this. We did a lot of the work of the spaceship stuff on the precursor to what is The Volume. Rob Bredow and I shot some tests on that, to see if it was feasible to actually use LEDs as the walls of the studio. Effectively, the thinking was that if it emitted light, then you could change it, and it could become any background that you wanted. So, that was what excited ILM about it.
The trick of it was to try and create worlds and backgrounds—we call them “loads”—that would be really, really quick to change, and that would do a lot of the heavy lifting, in regards to the lighting, so that each setup was a relatively quick thing. Every time we turned around, every time we did a close-up from a wide, it would be nice and quick.
It’s one of the worst things in the world when you’re outside and you’ve got to manipulate the bounce and diffusion, and this way, you’ve really got full control. So, for me as a filmmaker, it’s the emotional response to light that I get from The Volume.
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