But there were definitely some aesthetic issues that had to be figured out.” Ewan McGregor as Obi-Wan Kenobi rehearses a scene with stunt co-ordinator Nick Gillard. “By the time we were actually in production on Phantom Menace,” says John Knoll, one of the visual effects supervisors on the film, “we had a look for the sabers that we were already happy with. This work on the Special Editions informed what would be done on Episode I. ![]() “And then there’d frequently be additional elements, like glints of light, or when they’d hit something else, and they would very frequently be hitting something else, and that would create another whitish-yellowish element.”Ī new generation, a new set of challenges “We’d then noodle those to death in terms of intensity, fall-off and transparency when the lightsaber was in motion,” describes Masson. Those three elements were the hot core, the center area which was the main color – red, green or blue – and then the glow around it.” “They always contained at least three elements at a minimum. “I remember vividly analyzing the components of both lightsabers and blaster bolts back then,” he says. ![]() Terrence Masson, a digital effects artist on the special editions of The Empire Strikes Back and Return of the Jedi, recalls re-creating, digitally, lightsaber blades and blaster bolts for those releases. Interestingly, some lightsaber ‘re-dos’ had been tackled in the Special Editions (released in 1997), where the original optically composited sabers in certain scenes were replaced with digitally composited versions. It was on the first prequel that ILM could adopt so many of the digital innovations it had made, especially during the 1990s.
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