star wars cockpit display screens manufacturer

After watching Star Wars while it was on a TBS Marathon this weekend, that same "shiny star symbol" can be seen on several terminals in the Rebel Base on Yavin as well. I am sure that it was used several times as "technological filler" and one could spot it in the original trilogy - maybe add it to the drinking game list.

Ask any fan of Golden Age classic arcade machines what their fondest recollection of the era is, and it is likely that Atari’s seminal Star Wars game is going to be mentioned by most. Released in 1983, the game is indeed a true classic and is arguably one of the best uses of a licence ever in a video game. Based on the action seen in the film, this full colour vector game drops the player into the Star Wars Universe. And despite being ultimately not much more than an on-rails shooter, it is a great game, that puts the player inside an X-Wing Fighter craft as Luke Skywalker travelling through space to shoot down enemy Tie-Fighters.

Once the enemies are cleared the player arrives at the Death Star to shoot down Towers and turrets, all the while being encouraged to “use the force” by a digitized Alec Guinness. But it is perhaps the game’s final sequence that captures the imagination the most; the player is able to barrel down the Death Star’s “trench” to the game’s ultimate spectacular grand finale:

The actual game started life as something else entirely – Warp Speed. This was the game that engineer Jed Margolin had in his head to develop from his very first day at Atari:

The Star Wars game came about because I wanted to do a 3D space war game. I mean, I really wanted to do a 3D space war game. It is why I went to work for Atari.

I think that was the most excited I’ve ever been in my life! They could have picked people like Ed Logg or Ed Rotberg, who had superiority over me. I’d just come off the Gravitar and Akka Arrh games, but for some reason they choose me to run the project and design the game. I didn’t know how much work it was going to be but I wanted to make sure I got the best team and made the best game. Star Wars was such an important title. I just wanted to make sure it was top-notch.

….If the player hits it, he is treated to a colourful display or explosion and gets one free turn (free life) then continues to the next wave of normal game play….

At some point during the development of Warp Speed, Atari agreed a partnership with Lucasfilm, picking up the rights to develop new games under the Star Wars franchise. Sensing an opportunity to attach his game to this high-profile IP, Jed suggested to the powers that be at Atari that his vision for Warp Speed would be a sound platform on which to build a Star Wars themed game. Management duly agreed, perhaps with some relief that someone had proactively suggested a solution to a tricky project.

Like most games, several elements were considered and then dropped or adapted to improve the player experience during the development of Star Wars. Here are a couple of story boards developed by Atari when putting the game mechanics together. You can click each image for a larger version:

But it is the cockpit cabinet itself that defined Atari’s Star Wars arcade game. Subject matter and game play elements aside, it is this iconic looking cabinet that drew the quarters and secured its place in the arcade history books. In writing this article, I was able to track down and talk with Mike Jang, who was an industrial designer at Atari. Mike would work with his colleagues in mocking up and designing the physical and ergonomic side of Atari’s arcade machines.

Here, Jang’s colleague Barney Huang sits inside a very early cockpit prototype (made largely of cardboard pieces!). you can make out some similarities to the final Star Wars cockpit from these images:

I started the concepts for the Star Wars cabinet and later another designer did more detailed work on the plastic part in front of the monitor. One of the main elements I sketched up were the hydraulic ram shapes on the plastic parts. Those rams were often seen in the movie, especially the ramp to the Millennium Falcon.Also I wanted to continue the mechanical theme by adding that truss style design to the sides of the roof. I was concerned because that was a particle board part that was cut with an angled router bit.  Then the bare particle board was just painted black.  I was worried about the wood texture appearance but nobody noticed after everything else was put in place.

We knew it would be perfect for a sitdown cab as well as a standup. That’s why we made such cool mouldings around the monitor and used this see-through dark Perspex, so people could see what was going on. And we spent a long time working on the controller so [the whole cockpit experience] felt just right.

With the cabinet design approved by Lucasfilm, it was time to start sharing the actual game with them for approval and feedback. Memos went back and forth between Atari and Lucasfilm with ideas and questions about the proposed game. I’ve found an interesting document which details actual feedback from the Lucasfilm team on some of the suggested game play elements proposed by Atari. (I’m guessing the handwriting top right is from Mike Hally himself)

The key difference between the upright and sitdown cockpit cabinets aside from the seating position, was the larger monitor used in the cockpit version of the game. A 25″ Amplifone (vs a 19″ Wells Gardner in the upright) really does add to the impact of the visuals.

So with a thumbs up from the creator of Star Wars himself, the game was put into production and released in 1983. Here is a Projected Materials Cost Estimate document prepped by Mike Hally for the upright cabinet. Makes for interesting reading:

Getting the game out to market was arguably pretty easy – with the attachment of the Star Wars franchise to the game, and housing it inside Mike Jang’s glorious cockpit cabinet, players armed with coins ready to play were drawn in.

Atari sold just over 12,000 Star Wars cabinets in total, consisting of 10,245 uprights and 2,450 cockpits. With an assumed margin of around $1,000 per cabinet, this was a multi-million dollar earner for Atari’s coin-op division, and I would suggest was one of its greatest arcade games ever, despite being released during Atari’s arcade twilight years.

Atari’s Star Wars remains a classic slice of arcade history. It has everything going for it – great vector visuals, the Star Wars IP, fabulous artwork and an iconic design that holds up to this day. You can find cockpits out there in the wild still. Do try to seek one out and experience the ride.

I"ve also contacted a local tech but am hoping to get as much info and insight before having someone start working on tried to find and fix the problem (if it"s fixable).

It’s obvious that the ESB plans are a direct copy of the ANH plans, but the mid section of the cockpit is slightly longer, as I’ve indicated here in red. While the ANH cockpit is 3 feet deep, the ESB cockpit is 4"6" deep, though the blueprint does add “dimensions subject to alteration.” However, I understand that the Volvo 343/345 dashboard box that’s to Fisher’s right is 1 foot 1 inch wide, so it appears that the 18" additional depth measurement is correct.

A narrow shelf at waist height runs around either side of the cockpit. Not much to say about this, other than it had a stepped routed edge. I think it"s kind of fascinating that despite the limited budget of the show they went to the trouble of designing the shelf that way, even specifying its routed-out measurements on the original blueprints.

The set lighting is notably very old-fashioned in the first Star Wars movie. The director of photography was old-school English cinematographer Gil Taylor, who took the traditional approach of just blasting light into every set. The light was very hard, likely from huge Fresnel lens lamps. And so everyone is lit by rather unflattering lighting. The scenes of Leia and Tarkin on the Death Star are classic examples of this.

The lighting in ESB is considerably different. Empire"s cinematographer Peter Suschitzky adopted a darker, moodier, and subtle style, with much more soft and complex lighting. He usually lit the Falcon interior to give the illusion that everything was illuminated by the actual lights inside the cockpit, rather than being lit by some random light source outside in the blackness of space. The sophisticated cinematography is a significant reason, I’d argue, that ESB has aged less than ANH.

This approach wasn’t without its risks, however. During filming of one cockpit scene in Empire, Peter Mayhew’s Wookiee costume actually caught fire because of a light mounted on the floor!

LightbarsThe cockpit is ostensibly lit by a set of horizontal lightbars. These were milky white acrylic panels, backlit. They also had fine pinstriping running parallel to the edges.

It turns out that George Lucas visited the cockpit set when it was nearly done and offered the view that it was too big. He wanted a cramped and crowded cockpit, like a plane from a war movie. This request for a lower ceiling resulted in a hasty rejigging of set parts shortly before filming, in order to make the cockpit smaller in diameter. This is apparently the cause of the alignment problem.But why is the lightbar misaligned on Han"s (port) side, but fine on Chewie"s (starboard) side? I"ve vaguely puzzled over that for some years, but Stinson Lenz has come up with a logical explanation. Basically when the crew revamped the cockpit to make it slightly smaller, they simply "rotated" the sidewalls as a whole intact unit. They did so in a clockwise fashion if you"re looking towards the door of the cockpit, and the rotation point was essentially around the lower bottom edge of the Chewie side of the set.This explains why the sidewalls are mostly aligned on the Chewie side, since they pivoted at that point. But they were rotated and thus lowered slightly on the other. The manoeuvre also decreased the visible top section of the cockpit backwall, which also explains why the Han-side medium-grey coloured wedge piece has a different profile from the ESB and later cockpits (essentially the rotating sidewalls took a notch out of that panel).1980

This version of the set fixes the alignment issue. All light bars line up. Also, a small light panel is visible in the rear starboard corner, near the nav display. The shot below shows a roof panel that was removed for the filming so that additional lighting could be added. It also is one of the few clear shots known of the ceiling handles.

Backwall “nav computer” displayOne notable detail of the backwall is the circular screen to the top starboard corner, often referred to in ancillary marketing material as the nav computer display, though it’s never described in any OT script. It was later retconned in "Solo" to be the navigational capabilities of ill-fated rebellious droid L3-37.

This screen was simply a round piece of glass or plastic with a simple picture behind it. The display showed a graphic of curved lines and a box in green, red, and white, and never changed. There were small lights around the “screen” grouped in a part circle, and these lights mostly flashed on and off in groups. This design was shown in "Solo" as an Easter egg when Qi"ra installs the display.

The TFA and TLJ nav display has a bunch of red LEDs showing an animation in a circular sweep. It doesn’t have a hall of mirrors look – it’s just a plain black circle with the red lights. Kind of naff looking, especially since it seems to have used ordinary 5mm LEDs and so the patterns are made up of obvious dots.

One of the extra ring panels - a starboard blank panel with the X-shaped bracing - becomes openable in TFA. This is for the moment when Rey manages to miraculously fix a problem with the Falcon by extracting some component or other. The panel recess seems oddly deep given the diameter of the cockpit tube, but presumably the Falcon’s hull is made of some powerfully tough, yet thin, material.

The dashboard.The cockpit has a T-shaped dashboard with a central console running between Han and Chewie, and a front panel. All kinds of controls adorn this thing – mostly switches and pushbuttons.

The central black object is supposed to be a display screen of some sort. It’s an odd design, really, since it’s a very small portrait-orientation display, buried deep inside a black rectangular thing that appears to resemble a stepped lens hood from a very old large-format camera. It  contains a static diagram that"s visible during the "I"m in it for the money" scene.

The five foot Falcon (often called the four foot model by ILMers in reference to the saucer diameter rather than the overall length) cockpit interior differs from the full-size movie set in quite a few ways.

It seems to have been based very loosely on Joe Johnston"s early production sketches of a possible cockpit interior, shown here. Which in turn was inspired by the round look of World War II era B-29 American bomber cockpits. (not the postwar B-52, as is sometimes erroneously claimed, since the latter doesn"t have the characteristic radial front window)

The only really noticeable continuity error involves the scene of the Millennium Falcon entering the Death Star docking bay. The model"s double CRT-type boxes are clearly visible when the ship enters the Death Star. Then, when the scene cuts to the full-sized set, you can see the single central dash console, since the exterior set"s interior detailing replicated the separate full-sized cockpit. Of course, this is a kind of “blink and you"ll miss it” continuity error that only true nerds, or people looking out for, would ever spot.

Geeks care!Indeed. A handful of folks are oddly interested in what the original shooting miniature Falcon had for a cockpit. But I haven"t found much information about it; hence this page.

There doesn"t appear to be any overall overhead or general purpose lighting. Instead, the lights were intended to simulate actual source lights –dashboards, consoles, screens, etc.It looks like an incandescent light, perhaps a small halogen bulb, may have been used to backlight the backwall area. And some grain of wheat incandescents were used to illuminate the side control panels via fibre optics. It"s clear that the centre console, with its levers and so on, was also lit.One amusing thing about the model as it exists today is that one of the CRT monitor housing-type thingies on the dashboard has broken off and been lost, thanks to the ravages of time. This has exposed three 5mm LEDs which were used to illuminate the model interior, providing us with useful information about how the lighting worked. A red LED was positioned at the base, giving that crimson glow around the bottom of the "screen". Amber and green LEDs were positioned slightly higher, and were used to produce the display output. Note that LEDs in the 1970s, especially non red LEDs, were considerably dimmer than LEDs of today.

A new 3D technology aims to give mobile devices the power to display holographic images and video. Partly inspired by a scene from Star Wars where a holographic image of Princess Leia pleads for help from Obi-Wan Kenobi, the appropriately named ‘Leia’ recently demonstrated a prototype of its display at the Mobile World Congress in Barcelona.

A 3D projection like the one featured in Star Wars may be a step too far at the moment. But, unlike conventional 3D movies that can only be seen from one angle, Leia’s designers say it offers a real sense of depth and can be viewed from 64 different angles - all without the need for 3D glasses.

Leia CEO David Fattal says their technology is a first for mobile displays: “It’s a display that is able to project 64 different images, going in different directions of space. So that when you look at it, your left eye and your right eye will actually see a different image and you will see in 3D. And not only that, but when you move your head around the display - you can rotate or tilt or shift the display - your eyes will see a different pair every time and you will get the sense of parallax, which means you will be able to see around objects as well.”

Fattal hit upon the idea for the holographic display while he was a researcher at HP Labs. His work with optical interconnects, which let computers exchange information encoded in light, led him to realize the same principle could be used to display holographic images. Structures called diffraction gratings normally send light rays through cables to transmit data, but Fattal engineered the gratings to transmit light in prescribed directions in space.

The makers also developed a way to make the holograms come out of a conventional LCD screen, by simply incorporating their own technology. Conventional LCDs have a component called a backlight, consisting of a light source and a plastic light-guiding panel that directions the light toward the display’s pixels. Leia essentially replaces the standard light guide with their own more sophisticated panel.

“It’s a very simple LCD technology, which is the technology that equips most of the cell phones and most of the regular displays today. As we essentially change just one small chief component which is called the backlight and we introduce our nano technology on to it. It sounds very scary but actually it’s very benign and cheap to do. And out of this we’re able to send rays of light into space instead of disorganized light that would propagate in all directions,” said Fattal.

Fattal says their technology could be easily integrated with existing displays: “Anywhere you have a display you would be able to replace the display and augment it with this 3D imagery. So, for example, you start with a smart watch or eventually a smart phone or a tablet. But you could have (it) in any appliance; you could have a display on a fridge or any appliance at home, a remote control or your garage opener. You could have something in a car, for example, it might be a key fob or it might be a GPS display in a car where you would see, for example, building coming out slightly in 3D, like a Google map application.”

Later this year the company plans to release a small display module that can produce full-color 3D images and videos. It was the switch from a black-and-white to color display that proved most difficult for the developers, Fattal said.

“Probably the hardest part was to move from monochrome to color. The physics that this display is based on is called diffraction. Diffraction is basically a technology that behaves very differently with different colors of light. So if you don’t pay attention the red, green and blue component of your image should go in very different directions. And our core technology and our core invention was how to make these three colors work together to produce, for example, a white image that you saw or a full color image.”

A new 3D technology aims to give mobile devices the power to display holographic images and video. Partly inspired by a scene from Star Wars where a holographic image of Princess Leia pleads for help from Obi-Wan Kenobi, the appropriately named ‘Leia’ recently demonstrated a prototype of its display at the Mobile World Congress in Barcelona.

A 3D projection like the one featured in Star Wars may be a step too far at the moment. But, unlike conventional 3D movies that can only be seen from one angle, Leia’s designers say it offers a real sense of depth and can be viewed from 64 different angles - all without the need for 3D glasses.

Leia CEO David Fattal says their technology is a first for mobile displays: “It’s a display that is able to project 64 different images, going in different directions of space. So that when you look at it, your left eye and your right eye will actually see a different image and you will see in 3D. And not only that, but when you move your head around the display - you can rotate or tilt or shift the display - your eyes will see a different pair every time and you will get the sense of parallax, which means you will be able to see around objects as well.”

Fattal hit upon the idea for the holographic display while he was a researcher at HP Labs. His work with optical interconnects, which let computers exchange information encoded in light, led him to realize the same principle could be used to display holographic images. Structures called diffraction gratings normally send light rays through cables to transmit data, but Fattal engineered the gratings to transmit light in prescribed directions in space.

The makers also developed a way to make the holograms come out of a conventional LCD screen, by simply incorporating their own technology. Conventional LCDs have a component called a backlight, consisting of a light source and a plastic light-guiding panel that directions the light toward the display’s pixels. Leia essentially replaces the standard light guide with their own more sophisticated panel.

“It’s a very simple LCD technology, which is the technology that equips most of the cell phones and most of the regular displays today. As we essentially change just one small chief component which is called the backlight and we introduce our nano technology on to it. It sounds very scary but actually it’s very benign and cheap to do. And out of this we’re able to send rays of light into space instead of disorganized light that would propagate in all directions,” said Fattal.

Fattal says their technology could be easily integrated with existing displays: “Anywhere you have a display you would be able to replace the display and augment it with this 3D imagery. So, for example, you start with a smart watch or eventually a smart phone or a tablet. But you could have (it) in any appliance; you could have a display on a fridge or any appliance at home, a remote control or your garage opener. You could have something in a car, for example, it might be a key fob or it might be a GPS display in a car where you would see, for example, building coming out slightly in 3D, like a Google map application.”

Later this year the company plans to release a small display module that can produce full-color 3D images and videos. It was the switch from a black-and-white to color display that proved most difficult for the developers, Fattal said.

“Probably the hardest part was to move from monochrome to color. The physics that this display is based on is called diffraction. Diffraction is basically a technology that behaves very differently with different colors of light. So if you don’t pay attention the red, green and blue component of your image should go in very different directions. And our core technology and our core invention was how to make these three colors work together to produce, for example, a white image that you saw or a full color image.”

You"ll find no touch screens in Star Wars: The Last Jedi—not even when you can watch it at home next month (March 13 for digital, two weeks later for physical). Same goes for mice and keyboards. They"re all too familiar, too of-this-world, to appear in a galaxy so far, far away. What you’ll find instead are interface displays, and lots of them. Whether in an X-wing"s cockpit or the bridge of a Star Destroyer, every display in The Last Jedi exists to support the story—to provide a graphical complement to the film"s action and dialogue.

And it started with the film’s director. “Whenever possible, Rian [Johnson] wanted us to use practical graphics to enforce the narrative,” says creative director Andrew Booth, who oversaw the creation of TLJ’s assorted instrument clusters, targeting systems, medical readouts, and tactical displays. “It would actually appear in the script that you look at a screen and gain a deeper understanding of what’s happening. The challenge was always, what can we do in-camera to create something that feels real and believable?”

What"s impressive about the interfaces in The Last Jedi is that they feel believable not just to the audience, but to the film"s dramatis personae. In the real world, designers design for one person: the user. But creatives like Booth—whose design agency, BLIND LTD, has been behind the look and feel of some of this century’s biggest blockbusters, including every Star Wars film from TFA onward—designed the practical displays in The Last Jedi with at least three groups of people in mind: the characters, the actors depicting those characters, and the folks watching along in theaters.

Consider the film’s opening scene, in which (fair warning: plot points and spoilers from here on out) Commander Poe Dameron calls General Hux. The point of Poe"s call is to buy time; he"s charging the engines on his X-wing so he can stage a surprise attack on the First Order Dreadnought that’s poised to obliterate his Resistance buddies planetside. It’s a plan the audience comes to understand when the camera cuts to a display inside Poe’s starfighter that shows the status of his boosters.

The inside of Poe"s X-wing. The top display depicts the Dreadnaught tower Poe attacks at the beginning of the film; the middle one shows the status bar for his X-wing’s engines; and the bottom one, which is all wonky, visualizes his spaceship’s damaged targeting system.LUCASFILM LTD./BLIND LTD.

“For us, that’s a perfect piece of storytelling,” Booth says. “Now you’ve got exposition, drama, and tension all wrapped up in this close-up of a progress bar.” And because it’s a practical effect, that tension is experienced by audience, actor, and character alike. In fact, every single display in Poe’s cockpit pulls triple duty: The top one depicts the tower Poe is attacking; the middle one shows the status bar for his X-wing’s engines; and the bottom one, which is all wonky, visualizes his spaceship’s damaged targeting system, which BB-8 spends much of the sequence trying to repair.

Similar details abound inside the spacecraft from Canto Bight, the opulent casino city. The graphics aboard the ship that DJ and BB-8 steal are shiny. Slinky. Sumptuous. A striking contrast to the First Order"s stark, militaristic vibes and the ragtag aesthetics of the Resistance. "This was us trying to evoke a different world," Booth says.

But look closely, and you’ll see that the screens inside the shuttle are loaded with details. Crait’s topography, the blast door separating the Resistance from the First Order, the line of AT-ATs—they"re all depicted on screens, often for the briefest of moments. "It gives you an idea of the level of detail that we put into these interfaces," Booth says. "It"s one of the things we pride ourselves on: You don’t necessarily always see it, but you sure as hell feel it.”

One year after its first release in collaboration with Lucasfilm, Kross Studio presents a new and limited exclusive collector set inspired by the legendary Star Wars bounty hunter, Boba FettTM.

One of the most enigmatic characters in the Star Wars galaxy has inspired Kross Studio’s latest creation, in collaboration with Lucasfilm. The Swiss design studio is proud to reveal a new and limited edition of ten Boba FettTM-inspired collector sets, each complete with a numbered, manual wound Boba FettTM-inspired central Tourbillon timepiece and a watch display by EFX, inspired by Boba FettTM’s famed starship.

Boba FettTM captured the world’s imagination in the original Star Wars film saga as a fascinating and mysterious bounty hunter. The series The Book of Boba Fett™, available to stream on Disney+, draws fans back into his world of high-stakes, thrilling adventures.

Kross Studio engineers reached another level by undertaking the challenge of manufacturing a miniature starship on its landing platform at the top of the tourbillon’s cage. Composed of eight pieces, each miniature tourbillon resembling Boba FettTM’s firespray starship has been produced at Kross Studio and manufactured in CNC machines.

Each piece has been meticulously engraved and hand painted to mimic the weathered appearance of Boba FettTM’s ship as it appears in Bespin™ at Cloud City in the Star Wars film saga. The level of detail is incredible, and it highlights the unique savoir-faire perpetuated by artisans in Switzerland. It took 90 hours to make each of the ten pieces that are based on the starship and each one is a unique piece.

Kross Studio has employed a unique peripheral format for reading the hours and minutes through a planetary gear system that orbits 360 degrees around the tourbillon. A 12-factor gear ratio allows the planetary minutes system to empower the progression of the hours. In order to optimize the movement’s efficiency as much as possible, the hour and minute display system is fixed on two very wide and high-precision ball bearings.

Kross Studio worked with EFX to create ten unique watch displays that would fit the Boba FettTM collector set. The company is known worldwide as an exceptional manufacturer of extremely high quality “screen accurate” limited edition prop replicas and collectibles from favorite films, television, video games and other entertainment media.It made perfect sense to take inspiration from Boba FettTM’s iconic starship and to make a watch display that can carry the Boba FettTM Tourbillon in its cockpit while being displayed as an art piece in a select few collectors’ rooms.

Each EFX Boba FettTM’s starship watch display is the same scale as the actual filming model as seen in Star Wars: The Empire Strikes Back™. They are made with an aluminum and acrylic substructure with the detail parts cast in resin. Each detail piece is individually cast from a master made from the same model kit parts used to make the screen used prop and then carefully finished and painted by hand. The parts of the EFX Boba FettTM’s starship-inspired watch display were developed with a thorough review of the screen used prop.

Like the Death Star™Ultimate Collector Set before it, this 10-piece series of Boba FettTM Collector Sets will never be produced again, joining the pantheon of the galaxy’s most highly sought Star Wars collectibles.

Each of the 10 limited-edition sets includes a numbered Boba FettTM-inspired Tourbillon watch and a Boba FettTM starship-inspired watch display made by EFX.

Star Wars: Rogue Squadronarcade-style flight action game co-developed by Factor 5 and LucasArts. The first of three games in the Rogue Squadron series, it was published by LucasArts and Nintendo and released for Microsoft Windows and Nintendo 64 in December 1998. The game"s story was influenced by the Luke Skywalker, commander of the elite X-wing pilots known as Rogue Squadron. As the game progresses, Skywalker and Rogue Squadron fight the Galactic Empire in 16 missions across various planets.

Rogue Squadron"s focus on flight combat was directly inspired by a level in snowspeeder. Working together during development, Factor 5 designed the game engine, the music, and worked closely with Nintendo, while LucasArts produced the game"s story and gameplay and ensured it was faithful to Star Wars canon. Before the game"s release, Factor 5 successfully appealed to Nintendo to release the Nintendo 64"s newly developed memory Expansion Pak commercially. Consequently, Rogue Squadron was one of the first games to take advantage of the Expansion Pak, which allows gameplay at a higher display resolution.

Unlike the Star Wars: X-Wing computer game series that emphasizes space combat simulation, Rogue Squadron is a fast-paced, arcade-style flight action game.TIE fighters. Ground defenses are more varied and include three different walkers, laser and missile turrets, tanks, probe droids, shuttles, stormtroopers and speeder bikes.

Gameplay is presented from the third-person perspective, however a view from a craft"s cockpit is also available. The heads-up display features a health meter, a radar, and an ammunition count for secondary weapons.X-wing, A-wing, Y-wing, snowspeeder and V-wing.power-ups are hidden in different levels throughout the game. These bonuses improve a craft"s weapons or durability and are applied to each eligible craft for the remainder of the game.

Rogue Squadron includes a number of unlockable secrets. The player can unlock three bonus levels: "Beggar"s Canyon", "The Death Star Trench Run", and "The Battle of Hoth". These levels are made available when the player obtains all bronze, silver, or gold medals, respectively, on each level. Alternatively, they can be unlocked via passcode. Unlike the game"s primary levels, the bonus levels are adaptions of events from the Rebel Alliance"s combat against Imperial troops, as depicted in

During Rogue Squadron"s development, Star Wars film in more than 15 years—was less than one year from its scheduled release date. To take advantage of this marketing opportunity, Factor 5 included content from the upcoming film in Rogue Squadron. Lucasfilm provided the developers with design art for the Naboo Starfighter, a ship prominently featured in the new film. These designs were used to create an in-game model. Because the game was scheduled to be released six months before the film, Factor 5 was required to keep the ship"s inclusion a secret. As a result, most of the game"s development team at Factor 5 and LucasArts were not informed of its inclusion.cheat cartridges such as GameShark or Action Replay. More than six months after the release of Rogue Squadron, LucasArts unveiled the code to unlock the Naboo Starfighter as a playable craft. The code has been named the Nintendo 64"s most well-hidden code because of the length of time before its discovery.

Star Wars: Rogue Squadron is set in the fictional Star Wars galaxy, where a war is fought between the Galactic Empire and the Rebel Alliance. The game"s first fifteen levels occur six months after the Battle of Yavin—as depicted in A New Hope—and before the events of The Empire Strikes Back. As the Empire gathers strength for an all-out assault on the Rebel forces, Luke Skywalker and Wedge Antilles form Rogue Squadron, a group comprising twelve of the most skilled X-wing pilots from the Rebel Alliance.

The story is divided into four chapters, each of which starts with an opening crawl resembling those featured in the Star Wars films. Further story details are presented through the game"s instruction manual, pre-mission briefings, character conversations during the game and in-game cutscenes. The game begins with Rogue Squadron briefly encountering the Empire at the Mos Eisley spaceport on Tatooine. The team then executes escort and rescue missions on Barkhesh and Chorax, respectively.

After the success of Fractalus sequel into a Star Wars game instead.Shadows of the Empire in which the player flies a snowspeeder during the Battle of Hoth. Rogue Squadron and LucasArts production manager Brett Tosti stated, "That whole scene was actually the genesis for Rogue Squadron because everybody said, "Why don"t you do a whole game like that?" So we did."game engine, the music, and worked closely with Nintendo, while LucasArts produced the game"s content and ensured it was faithful to Star Wars canon.

Factor 5 initially pitched a concept to allow gamers to play through missions similar to the fans" favorite action sequences from the Star Wars films. This proposal was rejected, however.Star Wars Expanded Universe.A New Hope and The Empire Strikes Back as it was more commercially appealing.

LucasArts began developing the story and gameplayRescue on Fractalus with the on-rails gameplay of Atari"s Star Wars arcade game. Initially, designing and refining the individualized flight controls for the game"s various vehicles was difficult for programmer Mark Haigh-Hutchinson before breaking through to find the right balance for each.E3, but the game was so incomplete at the time that Tosti considered it a tech demo. It rendered a basic heightmap and an immobile AT-AT model, while TIE fighters lacking artificial intelligence flew and fired in a predetermined path. When "playing" the demo for audiences, Tosti followed a very specific flight path of his own to give the illusion that he was actually battling with the TIEs. Despite the demo"s barebones presentation, response from gamers was largely positive.

Late in development, the team realized that they were developing the game with a Nintendo 64 memory expansion in place at all times. Unable to run the game on a standard Nintendo 64, they began working on compression techniques to allow the game to run within the confines of the standard console.Iguana Entertainment also wanted to use the Expansion Pak to achieve a higher display resolution for Rogue Squadron was made to run on a standard Nintendo 64 but the Expansion Pak increases its resolution from 320 × 240 to 640 × 480.

Lucasfilm was hesitant to grant access to the Star Wars library of sound effects to Factor 5 sound designer Rudolph Stember. As a compromise, the company provided Stember with sounds sampled at the relatively low rate of 22 kHz, half the standard rate. Stember objected, claiming that the clips sounded worse than effects he had lifted from VHS tapes for a previous Star Wars project.voice work from several notable persons, including screen actors Olivia Hussey and Raphael Sbarge as well as voice actors Bob Bergen, Neil Ross and Terence McGovern.

In November 1998, a month before the game"s scheduled release, LucasArts announced the worldwide agreement with Nintendo concerning three new Star Wars video games. It granted Nintendo the rights to market the games and hold exclusive, worldwide distribution rights for five years following each release. Rogue Squadron was the first game released under this agreement.Mark Hamill, the actor who played Luke Skywalker in the Star Wars films, visited the Mattel Children"s Hospital in Los Angeles to play the game with patients in a Starlight Children"s Foundation"s Fun Center.

Many reviews compared Star Wars: Rogue Squadron to one of its inspirations, the Battle of Hoth flight combat level in Star Wars: Shadows of the Empire, considered one of that game"s best elements.Rogue Squadron "enhanced the flight model with true pitch, roll, and bank mechanics".IGN praised its inclusion of "upgrades, more enemies, better sound, and stunning second-generation graphics".GameRankings and Metacritic.GamePro named it one of the best games released in 1998.Star Wars license on consoles through well-paced gameplay, a story tied into the Star Wars canon, and visuals that made it "one of the generation"s top stunners".

The game"s technical aspects were singled out for acclaim. Its visuals were called "respectable"GameSpot remarked that in a higher resolution, "[the] textures of the landscapes, the ships, the lighting effects—everything looks so much better,"Peer Schneider said, "After playing the game in the optional high-resolution mode (640 × 480) once, it"s impossible to go back to the still respectable standard resolution." Citing details such as decals, Rebel markings, R2 units, cockpit views, and exhaust flames, Schneider described the game"s 3D ship models as "gorgeous". IGN"s Matt Casamassina said that the game was the best-looking Nintendo 64 game to date.

When Rogue Squadron was released in early December 1998, the title"s Nintendo 64 incarnation was the second-highest-selling video game for the first half of the month (behind Nintendo"s holiday season.PC Data, which tracked sales in the United States, reported that Rogue Squadron sold 584,337 units and earned $29.3 million in revenue by the end of 1998. This made it the country"s ninth-best-selling Nintendo 64 release of the year.Ocarina of Time.Player"s Choice collection,LucasArts Archive Series in May 2001.digital distribution in 2015.Rogue Squadron"s retail success was not anticipated by the game"s producer Julian Eggebrecht, who said that the game sold "about 100 times better than anybody expected".Star Wars films and only five months before the theatrical release of Star Wars: Episode I – The Phantom Menace helped contribute to the game"s success.GameCube—spiritual successor released for Windows and Nintendo 64.

Factor 5, LucasArts (December 7, 1998). Star Wars: Rogue Squadron (Nintendo 64). LucasArts. Level/area: The Battle of Calamari. Chapter IV Dark Empire: Six years after the Battle of Endor, the fight for freedom continues. Even without the thousands of Jedi Knights who formed the backbone of the Old Republic, the Rebel Alliance has managed to control three-quarters of the galaxy. Darth Vader is dead, but a reborn Empire under a mysterious new leader strikes back at the struggling Rebel Alliance, hoping to crush the fledgling new Republic. Massive World Devastators, more powerful and unstoppable than the Death Star, ravage entire planets. Rogue Squadron, which is now commanded by Wedge Antilles, persists in mounting daring missions throughout the galaxy ...

Factor 5, LucasArts (December 7, 1998). Star Wars: Rogue Squadron (Nintendo 64). LucasArts. Level/area: Defection at Corellia. General Rieekan: I have repeat word an Imperial officer—Crix Madine—wants to defect.

Factor 5, LucasArts (December 7, 1998). Star Wars: Rogue Squadron (Nintendo 64). LucasArts. Defection at Corellia Briefing: Imperial officer Crix Madine wishes to join the Rebel Alliance, but the Empire will do anything to stop him.

Factor 5, LucasArts (December 7, 1998). Star Wars: Rogue Squadron (Nintendo 64). LucasArts. Level/area: Liberation of Gerrard V. General Rieekan: Gerrard V is attempting to gain its independence, but the Imperial governor is looting the city. Rogue Squadron, you must protect Crix Madine"s Y-wings while they disable the escaping ships.

Factor 5, LucasArts (December 7, 1998). Star Wars: Rogue Squadron (Nintendo 64). LucasArts. Level/area: Liberation of Gerrard V. Wedge Antilles: Luke, this is Wedge. I"m on the other side of the planet. We"ve got trouble. It"s the 125th TIE interceptor Squadron.

Factor 5, LucasArts (December 7, 1998). Star Wars: Rogue Squadron (Nintendo 64). LucasArts. Level/area: Liberation of Gerrard V. Kasan Moor: This is lieutenant Kasan Moor of the 128th Imperial to an unidentified Y-wing: Are you quite done? My vehicle has been disabled for a good two minutes now.

Factor 5, LucasArts (December 7, 1998). Star Wars: Rogue Squadron (Nintendo 64). LucasArts. Level/area: Liberation of Gerrard V. Rogue Squadron: Kasan Moor, consider yourself a prisoner of the Rebel Alliance. / Kasan Moor: Well, if you"d quit shooting at me, I have a proposal to make. One that would serve us all.

Factor 5, LucasArts (December 7, 1998). Star Wars: Rogue Squadron (Nintendo 64). LucasArts. Level/area: Assault on Kile II. Wedge Antilles: Luke, it"s an ambush! I don"t know where they came from. I don"t have nav-control anymore. Can"t ... steer ... straight ... Main computer offline, targeting computer offline. Ahh ... we just lost Rogue 7! I can"t ... / Luke Skywalker: Get out of there, Wedge! Hobbie, what happened? / Hobbie Klivian: Wedge made it, but he"s gonna be captured for sure. I"m under a lot of fire.

Factor 5, LucasArts (December 7, 1998). Star Wars: Rogue Squadron (Nintendo 64). LucasArts. Level/area: Rescue on Kessel. Kasan Moor: Kessel—it"s a mining colony, but the Imperials often keep political prisoners here too. There should be an armored hovertrain nearby transporting captured Rebels to a central station before moving on to the prison. I"m sure Wedge is with them.

Factor 5, LucasArts (December 7, 1998). Star Wars: Rogue Squadron (Nintendo 64). LucasArts. Level/area: Battle Above Taloraan. Chapter III The New Threat: With the rescue of Wedge Antilles, and Rogue Squadron at full strength, the Rebel Alliance turns its attention to a new Imperial threat—Moff Kohl Seerdon. Preparing to capture Thyferra, with its precious supply of healing bacta, Seerdon is now consolidating his power for a massive attack. His success could very well break the fledgling Rebellion, and surely doom the galaxy to Imperial rule. Luke Skywalker and Rogue Squadron are assigned to disrupt his operation with swift hit-and-run missions against key targets such as he Imperial mining operation on Taloraan ...

Factor 5, LucasArts (December 7, 1998). Star Wars: Rogue Squadron (Nintendo 64). LucasArts. Blockade on Chandrila Briefing: Moff Seerdon has chosen to hold Chandrila hostage in an attempt to make the Rebellion pay for its raid of Fest. You must help the innocent people of Chandrila protect the supply train and stop the Empire.

Factor 5, LucasArts (December 7, 1998). Star Wars: Rogue Squadron (Nintendo 64). LucasArts. Level/area: Raid on Sullust. Luke Skywalker: Alright, here"s our chance to hit them back for Chandrila. Kasan, did General Rieekan brief you? / Kasan Moor: Yes, the location of this Imperial base was supplied to us by Borsk Fey"lya. It"s a crucial link to the rest of the Sullust system, so it"s also well protected—hidden inside this volcano. They use the volcanic activity to power a geothermal generator, which is regulated by a shielded central capacitor. But inside the volcano, several transmitters are feeding thermal energy to the capacitor. Destroy the transmitters ... / Luke: ... and we take the shield down. Kasan, you lead the way.

Factor 5, LucasArts (December 7, 1998). Star Wars: Rogue Squadron (Nintendo 64). LucasArts. Level/area: Raid on Sullust. General Rieekan: Rogue Squadron, I"m afraid you"ll have to cut your celebration short. Moff Seerdon has begun his attack on Thyferra.

It’s a 55-inch OLED display that feels like a TV and a monitor at the same time. Also — yes, it’s a curved screen that can rotate vertically. I had the chance to try out the display at CES 2022, and it’s as wild as Samsung makes it out to be.

There has been a struggle brewing between TVs and monitors over the past few years. TVs are getting better, with displays like the LG C1 offering up variable refresh rate and Samsung’s newly announced QD-OLED TV bringing 144Hz to the living room.

Your eyes don’t deceive you. That is a 55-inch curved OLED monitor positioned vertically. This is cockpit view, where the display stretches far above your head, and it’s remarkable to see in person.

It’s a crazy display on its own, but the control dial is what makes the monitor tick. It’s wireless and it allows you quickly swap between different windows. It’s not final, but from what Samsung showed me, the dial looked great. None of the settings were buried in complex menus. Everything was a button press or two away.

It’s a question you could ask of a lotof CES products. ARK doesn’t look immediately useful, but the vertical orientation could have legs for specific applications in the future. It’s cockpit view, and my mind immediately went to gaming.

Microsoft Flight Simulatoris an obvious application, but I could imagine it in games like Star Wars: Squadronsand indie darling Cloudpunk, too. You wouldn’t normally game in cockpit view like you would with an ultrawide monitor. But for specific titles, ARK could be great.

The vertical orientation is impressive, but it’s important to remember that this is still a 55-inch, 16:9 display. Unlike the DualUp, you can just use it in the horizontal orientation, and the ARK is a great that way.

Industrial Light & Magic’s Publicity Group sits down with John Knoll, Executive Creative Director at ILM, and the Senior Visual Effects Supervisor on Rogue One: A Story Wars Story to discuss the film’s five-year anniversary.

I started thinking about this all the way back on Star Wars: Episode III – Revenge of the Sith. I was on set when we were shooting in Sydney, and I think we were waiting for some set-up to happen. I started chatting to Rick McCallum who was producing the film, and he mentioned that he and George Lucas were developing a Star Wars live-action TV series, and that they were working on scripts. I started thinking about all of the interesting tales you could tell in a show like that, and one of the first things that popped into my head was, “what about a Mission: Impossible-style operation to break into the most secure facility that the Galactic Empire had to steal the plans for the Death Star?” I started toying with that idea, along with a few others, and I approached Rick again to learn more about the time period they wanted to set the show in, and I realized that none of my ideas would apply to that period, so I shelved it.

Well, flash-forward to 2012 after Lucasfilm’s acquisition by The Walt Disney Company, where George selected Kathleen Kennedy to lead Lucasfilm, and our announcement of the continuation of the Skywalker Saga. What we also announced then that I was really intrigued by were the spinoff films. The first one we announced internally was Solo, and I got so excited about where these spinoff films could go, because the possibilities were endless. As a bit of a joke, I started pitching an updated version of my story that went, “picture a SEAL Team Six in the Star Wars universe, and they’re going on this desperate, high-stakes mission to break into the most secure facility in the Galactic Empire to steal the plans for the Death Star. What about that?” People would go “oh… actually, that sounds pretty cool…” [Laughs].

[Laughs] So I started having this conversation with a number of people, and every time I pitched it, I would start to add more detail, and it would get bigger and bigger. Kind of as a mental exercise, I asked myself, “well, if I were serious about this, who are the main characters? What are their arcs? What is the plot structure? How does this start, and how does this end?” I remember a specific moment where I was at this annual charity trivia game that we do, and I was on a team with a couple of friends, and we had about an hour over dinner while we were waiting for it to begin, and Kim Libreri said “tell me about this Star Wars story idea you have?” So I pitched him the half-hour version of it, with every detail, and at the end he goes, “you have got to go pitch this to Kathy.” At that point I realized I had to do this, because if I didn’t I would always wonder what could have been. So I called up Kathy and made an appointment, and I think it took maybe six weeks to find a time to meet with her and Kiri Hart from the Lucasfilm Story Group. I spent those six weeks writing up a really detailed treatment with all of the character descriptions. When the day came, I brought my treatment, sat down with Kathy and Kiri, and just dove into the pitch and the characters. They listened very politely to the whole thing, Kathy told me she was impressed with the story, and that was basically it. I didn’t hear anything for a few days, and at that point I was like, “well, I did it, at least now I don’t have to wonder.” A week later I got a call from Kiri, and she goes, “Kathy and I have been discussing your story a lot, and I think we want to proceed with this.” I was so elated, and one of the crazy things was that the first spinoff was supposed to be Solo, but Larry Kasdan got pulled into the development of The Force Awakens, and out of all of the spinoffs that they were tinkering with, Rogue One got slotted up to take its place in the queue. It was pretty surreal.

That’s right. I got talking with our Director of Photography, Greig Fraser, and our Production Designer, Neil Lamont, about some of these one-off sets – like the cockpit for Leia’s CR90 Corvette, the ‘Tantive IV’, or the interior of Admiral Raddus’ MC75 Star Cruiser, ‘The Profundity’. We looked at the set budget that we had, and realized that it was tough to justify an extensive build like that for something that would only be on screen for a handful of shots. The cost of entry for a Star Wars movie is expensive, because you can’t shoot a single frame of film without having to build almost everything in front of the camera. With that said, we were under a lot of pressure to trim wherever we could, so those limited-use sets hit the chopping block pretty early on. When asked how we could save money, I suggested that we could likely do them as virtual sets, where we just build a fragment of it where the actors were going to be. Greig Fraser had the same concern I did though, and that was that these types of sets are really hard to light well; not to mention that standing bewildered on a blue screen makes it hard for both the actor and the Director of Photography. Grieg and I came to the conclusion that we could use foam core – just enough to provide something to light, and something for the actors to get their bearings against. We felt it was a good way to go. Greig could get what he needed out of it, I could get what I needed out of it, and the actors could get what they needed out of it. That’s essentially how we did a couple of those sets, but the Art Department could not just make it out of foam core [laughs]. I told them it could be the sloppiest, slapdash thing, but they went ahead and added these nicely beveled corners, and it was all beautifully painted with lots of detail.

I did some fairly elaborate set recreations with some nicely rendered walkthroughs to build up Gareth’s confidence in the technology. Starting off, he wanted to build sets for everything, and that’s all fine on a production, until, of course, you can no longer afford to continue building them. I felt like we had reached a point where we had built a number of really good virtual sets for other projects, so we shouldn’t be so afraid of it. The topic of, “how do you light the actors?” became a talking point between Greig Fraiser and I. We both wondered what might prevent Gareth from embracing this, because he wouldn’t want an actor walking around on a blue stage – and I don’t want that either. So in the context of those conversations around lighting actors in virtual environments, that kind of led to what we did on the Blockade runner and Raddus’ ship. For some scenes that didn’t end up making their way into the film, I modeled the Death Star conference room, made famous inA New Hope, where Vader has his confrontation with Admiral Motti. The renders looked really good. I also modeled the corridor of the Blockade runner. Gareth felt strongly that we should do that one as a practical set, and I agreed, because it would be difficult to light the actors meaningfully because of all of the white balances. Resource-wise, the difference between building the foam core version of it, versus the practical set, was fairly insignificant, so it was hard to make the case that we should do it all virtually.

We did, yeah. The Blockade runner corridors are pretty limited spaces with a lot of repeating patterns, so that shot in Revenge of the Sith, for example, wasn’t a budget-buster. But for Rogue One, as soon as you turn the corner and go into the cockpit, you have elaborate instrument panels with screens, and levers, and complex seats, and all of those sorts of things: that’s an expensive set, so it’s more cost-effective to do it digitally.

I did make one final one, and that was a Death Star Docking Bay. I was really happy with the way the virtual set turned out, and the dynamic walkthrough. We added comms chatter, the sound of mouse droids, a bunch of small details to make the walkthrough immersive. It was a lot of fun to create. If we were to shoot Rogue One today, this type of environment, given its immense scale, would be the perfect candidate for Industrial Light & Magic’s StageCraft platform.

I basically said, “sooner or later, someone in the production will want to shoot a daytime exterior scene on a soundstage. Here are the reasons why we need to push back on that.” I showed examples of it being done wrong, and examples of it being done right. I gave him a few other possible obstacles that we talked through, and one of those were scenes that take place in a moving vehicle. I knew that that was going to come up in Rogue One. Usually when we have a vehicle flying through a dynamic lighting environment, one of the commonly used gags is having grips put flags in front of the lights, which I find to be a little lackluster and unconvincing. It was at this point that Greig brought up, “well, what about using LED screens?” I actually had an experience with this a few years prior on Mission: Impossible – Ghost Protocol, where we did our car driving scenes by using the background plates that we shot in Prague that would then be comped out of the windows. We put them on LED screens and had them playing, and that provided the lighting for the scene, and it looked really nice. There was lots of lighting complexity as the car drove by different environments; neon signs, for example. You would then see the light move across the actor’s faces.

At this point, Greig and I then conspired to scale this idea up and build a stage, which was a like a proto version of our current LED volumes, and what we now know as StageCraft. It had the big cylindrical screen, the ceiling piece, and some ring panels to help surround it. The only difference was that we were not driving with real-time content like we do on StageCraft. We did pre-recorded content that was animatic-level CG, but it was photographically accurate, and the ratios were correct. So anytime you were looking over someone’s shoulder, and you saw what was on the screen, we had to replace it in post – but what we got out of it was very nice lighting. A lot of things seem obvious in hindsight, but it wasn’t until I was standing on the stage, seeing the light bounce off the shiny helmets and the cockpits, that I realized how big of a deal this was.

What was the genesis behind the Shield Gate situated above the Outer Rim planet of Scarif, and where did the idea come from to crash a pair of Star Destroyers into it?

The Shield Gate at the Imperial security complex changed a number of times. In my original treatment it was an Imperial drydock and refitting facility for Star Destroyers, and the Rebellion would have mounted an audacious assault on the facility meant to act as a distraction. As the story developed, Gareth really felt that we needed to have the Shield Gate to prevent the Alliance Fleet from assisting the Rebels that were planet-side. As the rewrites were coming together, and the edit was taking shape, editorial was really focusing on the live-action elements that they were balancing, while the space battle would be further refined in post. They had a lot of placeholders in the edit at this point, “the Rebels arrive, they can’t get through, the action escalates, they take out some Star Destroyers, and then they open a hole in the Shield Gate”. The clock was ticking, and time was running out, so they asked us to mock something up based on the broad beats, so I came up with the idea to have the Rebels call up one of the Hammerhead corvettes to push a pair of Star Destroyers into each other, disabling them, and destroying the Shield Gate in the process. I wanted it to be really unique, so I started looking at footage online of what happens when container ships wait too long to brake and hit the dock, causing millions of tons of mass to just start plowing and plowing. Or when ships scrape into each other; just this kinetic energy. So scaling that up to a ship that is supposed to be a mile long, we asked, “how would that work?” If they were to push into each other, and you start one going, just pouring a bunch of energy and mass into that momentum. I wanted it to be all about mechanical damage; not just fireballs. Our Animation Supervisor, Hal Hickel, and his team, took that and ran with it, and what resulted was something that was really visually spectacular.

Is it true that the escape pods are visibly jettisoned during the shot of the Hammerhead corvette plummeting into the shield gate as it’s embedded in the Star Destroyer?

It did, yeah. In fact, at one point, I went and met with Pablo Hidalgo from Lucasfilm’s Story Group, and basically asked him what types of ships might make up the Rebel Fleet at this point in history, that way we could start building them. If you think about it, there would be a lot of ships that would comprise the fleet at this point that you wouldn’t have seen in The Empire Strikes Back, or Return of the Jedi, for obvious reasons. A lot of them didn’t make it out. Pablo suggested the Hammerhead corvette, and I thought it looked great.

You also brought Hera Syndulla’s ship, the ‘Ghost’, over from Star Wars Rebels. What was the process like to bring a ship from animation into live-action?

We had a lot of model shop veterans at ILM. John Goodson and Paul Huston were really helpful. Basically, I pitched this idea of building a Star Wars parts library, where we could essentially scan all of these model parts into a digital collection. Then we started to ask, “well, what are the right pieces? What are the right kits to pull from to give us the best bang of our buck?” The next step was actually sourcing these model kits. We set aside a budget and just bought a bunch of them on eBay; a lot of old vintage stuff. The Big Bertha howitzer, the Flak Wagon artillery gun, and a bunch of others that were used on the original films. We then photographed all of the sprue trees, and John Goodson went through and circled all of the ones we needed. We then laser scanned them all, and a partner of ours, Virtuous, then built really nice, optimized versions of all those pieces. That then became the basis of our Star Warskitbash library, which we have gone on to use throughout the rest of the Star Wars projects we’ve done. For The Last Jedi, Roger Guyett’s team expanded the library even further with more model kits scanned in.

[Laughs] One thing I discovered during this process, was that the digital X-wing cockpits we created were true and faithful to what the exter