Star Wars Ahsoka (tv series)

Rexermus said:
So I'm not 100% sure if here on the forum we've formed a consensus on what design hilt Anakin is definitively wearing on his belt, or if the rest of the forum cares that much anymore but it's bothering me that people across the internet are still insisting it's an MPP so hopefully this can help those people. I found a high quality screenshot that's been edited much clearer and has very definitive signs that show it is 100% a ROTS-flex (that's presumably chrome-plated or some other silver metal with a high sheen in a dark environment). I circled the 5 identifiers that it is without a doubt the Ep3 Graflex.
Orange is the hint of the bulb clamp, the raised bevels are accentuated by the reflection of the studio lights
Red is the short front copper button
Green is obviously the aluminum (or similar finish metal) knurling clamp band, I think that much was clear to the forum
Yellow looks a lot like the brass/gold/whatever yellowish metal clamp "lever"
Blue is the covertec clip, obviously a d-ring would not attach to that and would have the emitter by it not the grips if it was an MPP
View attachment 1737723
View attachment 1737724

So hopefully there won't be much more arguing over what hilt Anakin has

(Unedited version of the screencap if any of my circling was obstructing your view)
View attachment 1737725
Click to expand...
Yeah, I agree. It was the copper button that gave it away for me even in the blurry images. Then the covertec clip is the second obvious part. I think the weird lighting combined with the ominous "Vader Music Plays" at the end of the episode which had everyone looking for clues.
 
Here's a primer on Thrawn and the others, if you're like me and never read the books or watched the animated shows. It's also an article on Filoni's work, commenting on his upcoming Star Wars movie. This part stuck out to me:
All of this, it turns out, has been leading to Thrawn.
It makes Ahsoka the startpoint of an overarching narrative that sets up Filoni’s Star Wars movie. That means you’re out of luck if you’re hoping Ahsoka will have some resolution.
Click to expand...
So, temper your expectations, I guess...

www.thedailybeast.com

‘Ahsoka’ Is Setting Up the Entire Future of Star Wars—Very, Very Slowly

One name keeps popping up in every episode: Thrawn. And get ready to keep hearing it—he’s a big deal.
www.thedailybeast.com www.thedailybeast.com
 
Bloop said:
Here's a primer on Thrawn and the others, if you're like me and never read the books or watched the animated shows. It's also an article on Filoni's work, commenting on his upcoming Star Wars movie. This part stuck out to me:

So, temper your expectations, I guess...

www.thedailybeast.com

‘Ahsoka’ Is Setting Up the Entire Future of Star Wars—Very, Very Slowly

One name keeps popping up in every episode: Thrawn. And get ready to keep hearing it—he’s a big deal.
www.thedailybeast.com www.thedailybeast.com
Click to expand...
Opinion follows:
yeah everything they do recently is to set up something else. But that means they arent really telling good stories because everything has to lead to some hanging end for something they really want to do later. And they cant outdo that future story they havent written or it will be a let down. Characters, new and cameo, pop in and out on other shows so they set up other shows and nothing has a good flow to it. They gotta change things that have been a certain way for decades so they can tell new things.
They arent good at writing the EU.
Clone Wars was for kids and grew up through the series with the kids. Rebels was for kids and had some pretty deep stories. Adults liked both.
Live action is unclear what its for. Every one of the series seems to be different for different things. Some claim its a kids show so let it be for kids and dont complain, but even some of the kids dont see it that way... so what is it?

...but they have a grand plan. That they keep changing. Put up a teaser for a new movie or show title and then shelve it because its not going to work or something went wrong. We hired this director.. but no they cant do it now. These guys were half way thru filming a movie but we gotta fire them because we dont agree on what they are doing.. someone else will finish it and redo it all. its been a huge mess from the get go.

Temper my expectations... but i really dont have a good expectation about it. Those went out the window with the First Order. The old books, most of them, and the animated shows, were awesome. You are missing out if you dont read and watch those just for the content.

True, I'm probably not like you.. i have seen it all, read most of it, kept up with most... at times had insider info or been asked to costume at major events. it wasnt all pure gold, but it was fun and we had great times as a community through it.

The fans, i agree, are very much all over the place. There are really 4 or so camps of fans. 2 of new fans and 2 of old fans.
For some reason SW has a way of making very opinionated fans. On all sides. Much like the Empire and the Rebellion. Both sides think their way is the right one and both fight to the death about it. But most can still get together and be fans.
I am at the point in my life where SW is about the timeline of the first DeathStar... we have lived thru the old republic and the line has gone through the Emperor rising to power, and now we have given the plans over to the Empire, they have built the DeathStar, and there are some living with it, some that fought on the wrong side for a while, and some fighting to get it back to the glory days. I love the glory days but i dont care to be fighting the battles anymore. But i can tell you about them.
And it all makes sense in some weird way. Doesn't it?
 
I think I figured out what's odd about this show. The acting segments feel like live recordings of a theatre show that cuts back and forth between pre recorded action segments.

My guess is shooting against the volume is creating flat shots that limit going in and getting close up coverage of the acting. If you go back and watch her first episode in Mando s2 the overall film making quality is day and night. Maybe so many people have the volume booked you just don't have the time to get the coverage you need?
 
Rawktrooper said:
Opinion follows:
yeah everything they do recently is to set up something else. But that means they arent really telling good stories because everything has to lead to some hanging end for something they really want to do later. And they cant outdo that future story they havent written or it will be a let down. Characters, new and cameo, pop in and out on other shows so they set up other shows and nothing has a good flow to it. They gotta change things that have been a certain way for decades so they can tell new things.
They arent good at writing the EU.
Clone Wars was for kids and grew up through the series with the kids. Rebels was for kids and had some pretty deep stories. Adults liked both.
Live action is unclear what its for. Every one of the series seems to be different for different things. Some claim its a kids show so let it be for kids and dont complain, but even some of the kids dont see it that way... so what is it?

...but they have a grand plan. That they keep changing. Put up a teaser for a new movie or show title and then shelve it because its not going to work or something went wrong. We hired this director.. but no they cant do it now. These guys were half way thru filming a movie but we gotta fire them because we dont agree on what they are doing.. someone else will finish it and redo it all. its been a huge mess from the get go.

Temper my expectations... but i really dont have a good expectation about it. Those went out the window with the First Order. The old books, most of them, and the animated shows, were awesome. You are missing out if you dont read and watch those just for the content.

True, I'm probably not like you.. i have seen it all, read most of it, kept up with most... at times had insider info or been asked to costume at major events. it wasnt all pure gold, but it was fun and we had great times as a community through it.

The fans, i agree, are very much all over the place. There are really 4 or so camps of fans. 2 of new fans and 2 of old fans.
For some reason SW has a way of making very opinionated fans. On all sides. Much like the Empire and the Rebellion. Both sides think their way is the right one and both fight to the death about it. But most can still get together and be fans.
I am at the point in my life where SW is about the timeline of the first DeathStar... we have lived thru the old republic and the line has gone through the Emperor rising to power, and now we have given the plans over to the Empire, they have built the DeathStar, and there are some living with it, some that fought on the wrong side for a while, and some fighting to get it back to the glory days. I love the glory days but i dont care to be fighting the battles anymore. But i can tell you about them.
And it all makes sense in some weird way. Doesn't it?
Click to expand...
I get what you're saying. Pretty much every "franchise" is trying to do the same thing now. It's big business so they're going to try to get as much money out of it as they can, for as long as they can. They try to add new fans while keeping the old ones, all while competing with every other source of entertainment. But that can lead to an over-saturatization of their content and end up turning off fans (hence necessitating the need to keep adding new ones).
I might try reading/watching the old stuff again. I did really enjoy some of the Clone Wars episodes I saw, but I hit a couple that weren't as good, so I bailed. It's possible that might be recurring issue with Filoni's work. Ahsoka might suffer similar peaks and valleys, so it's just a matter of getting through the stuff you don't like to get to the stuff that's worth watching. I'm still planning on watching the whole season to see how it turns out.
 
janglesworthy said:
I think I figured out what's odd about this show. The acting segments feel like live recordings of a theatre show that cuts back and forth between pre recorded action segments.

My guess is shooting against the volume is creating flat shots that limit going in and getting close up coverage of the acting. If you go back and watch her first episode in Mando s2 the overall film making quality is day and night. Maybe so many people have the volume booked you just don't have the time to get the coverage you need?
Click to expand...
I hate that I'm looking for the edges of the LED volume now. It was especially noticeable during Ahsoka & Baylan Skoll fight at the map/Stonehenge-y site. I know it has advantages, like casting real light and reflections on the actors and scenery, but it can look flat. I wish they would film the scenes in the volume, then digitally replace the LED background in post-production so that the backgrounds wouldn't look as flat. Seems like it wouldn't be too difficult - the backgrounds are obviously already created digitally - but I assume they don't because it's extra time and money.
I don't think using LED volume is necessary for everything. I watched Silo on Apple TV+ recent and was surprised to find out that they just used blue screens in addition to a real set to make it look like they were in a concrete silo hundreds of levels high. No "volume" needed, and I couldn't see any "seams," as it were.
 
Bloop said:
I hate that I'm looking for the edges of the LED volume now. It was especially noticeable during Ahsoka & Baylan Skoll fight at the map/Stonehenge-y site. I know it has advantages, like casting real light and reflections on the actors and scenery, but it can look flat. I wish they would film the scenes in the volume, then digitally replace the LED background in post-production so that the backgrounds wouldn't look as flat. Seems like it wouldn't be too difficult - the backgrounds are obviously already created digitally - but I assume they don't because it's extra time and money.
I don't think using LED volume is necessary for everything. I watched Silo on Apple TV+ recent and was surprised to find out that they just used blue screens in addition to a real set to make it look like they were in a concrete silo hundreds of levels high. No "volume" needed, and I couldn't see any "seams," as it were.
Click to expand...
Doing that would be very time consuming and thus expensive they'd have to roto the actors out in order to comp in a new background. This is why when you need/want to set extensions or comp in a background you film against a blue or green screen so that the FX people can create a mat using what's called chroma keying. This means that you basically tell the computer to select everything that's certain color, this is why they use those shades of blue or green because you typically don't have clothes or props in those colors. While the process isn't perfect, it does do the bulk of the work and the effects artist only has to go in and clean things up a bit.

Rotoscoping is done when you don't have the benefit of having shot against a blue or green screen so what you end up doing is tracing around the actors and any set pieces by hand, frame by frame. So this takes time which means it costs money.
 
Riceball said:
Rotoscoping is done when you don't have the benefit of having shot against a blue or green screen so what you end up doing is tracing around the actors and any set pieces by hand, frame by frame. So this takes time which means it costs money.
Click to expand...

There are automated ways to help with digital rotoscoping now, and AI will certainly help. Faster but still time intensive.
 
Riceball said:
Doing that would be very time consuming and thus expensive they'd have to roto the actors out in order to comp in a new background. This is why when you need/want to set extensions or comp in a background you film against a blue or green screen so that the FX people can create a mat using what's called chroma keying. This means that you basically tell the computer to select everything that's certain color, this is why they use those shades of blue or green because you typically don't have clothes or props in those colors. While the process isn't perfect, it does do the bulk of the work and the effects artist only has to go in and clean things up a bit.

Rotoscoping is done when you don't have the benefit of having shot against a blue or green screen so what you end up doing is tracing around the actors and any set pieces by hand, frame by frame. So this takes time which means it costs money.
Click to expand...
They (can) film the scene in Blue/green background at the same time using higher frame rate, the cameras are genlocked to the frame rate of the screens, so if the wall refreshes at 120fps one camera can capture 60fps & another can capture the other 60fps,....so different perspective shots for each camera,.....higher frames per second can include more cameras....or green/ blue screen


J
 
Mottrex said:
And some moan about The Special additions, personally I like the OG fight better..
Why does everything have to look pristine covered in CGI and don't get me started on Easter eggs.. I prefer mine at well Easter.
Click to expand...
That's right...like Turner colorizing old B&W movie classics (and not so classic):mad::mad::devil::devil: It's a miracle that George didn't touch that one when he "improved" the OT:rolleyes:
 
I guess Im just less picky than others. I notice the flatness here and there on other shows (mostly Kenobi), but that hasn’t been the case for this show so far. Its looked better to me than most.
 
joberg said:
That's right...like Turner colorizing old B&W movie classics (and not so classic):mad::mad::devil::devil: It's a miracle that George didn't touch that one when he "improved" the OT:rolleyes:
Click to expand...
Just putting it out there.. I loath It's a wonderful Life in colour!

If AI Auto Android George is still alive in thirty or less years we will get a Star wars franchise you can actually sit/be in with the fabled 4D cinema someone spoke about years back.

Actually bumping shoulders with Chewbacca would be cool..

Anyhoo..

Chapter 5 what are our predictions ?
 
Riceball said:
Doing that would be very time consuming and thus expensive they'd have to roto the actors out in order to comp in a new background. This is why when you need/want to set extensions or comp in a background you film against a blue or green screen so that the FX people can create a mat using what's called chroma keying. This means that you basically tell the computer to select everything that's certain color, this is why they use those shades of blue or green because you typically don't have clothes or props in those colors. While the process isn't perfect, it does do the bulk of the work and the effects artist only has to go in and clean things up a bit.

Rotoscoping is done when you don't have the benefit of having shot against a blue or green screen so what you end up doing is tracing around the actors and any set pieces by hand, frame by frame. So this takes time which means it costs money.
Click to expand...
Yes, I'm quite aware of the process of create mattes, chroma (and luma) keying, rotoscoping and the like. My father and I both worked in television, on the technical side of things, so I learned about those things at a young age (before the proliferation of computers made the tech easier and more commonplace). I've also been working with mattes and roto recently while doing deepfakes as a hobby, so I know how time intensive it can be.
As others mentioned, there have been advances in tech that would make replacing the background easier and quicker. Creating a difference matte may not be as difficult as you think since the background of the volume is the same as the digital background, though I realize the camera lens will add distortion and the colors and levels of the background won't be exact, but compensations can be made for that.
But yes, as I said, I realize it would add time and money to the process. The point is, I'm certain it could be done if they wanted to improve the quality of the final result onscreen. But I get that they have budgets and time constraints, and to most people, the scenes with the LED volume will look "good enough."

Side note: I actually looked into getting a job as a roto-artist, but found out that most of the jobs have been farmed out to places like India, where Hollywood studios and FX houses only pay a salary of like $150 a year, due to the exchange rate. So the cost of roto work might not be as much as you think.;)
 
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