{"version":"1.0","provider_name":"ICG Magazine","provider_url":"https:\/\/www.icgmagazine.com\/web","author_name":"editor","author_url":"https:\/\/www.icgmagazine.com\/web\/author\/editor\/","title":"A New Hope - ICG Magazine","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"5FOoIVZztH\"><a href=\"https:\/\/www.icgmagazine.com\/web\/a-new-hope\/\">A New Hope<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.icgmagazine.com\/web\/a-new-hope\/embed\/#?secret=5FOoIVZztH\" width=\"600\" height=\"338\" title=\"&#8220;A New Hope&#8221; &#8212; ICG Magazine\" data-secret=\"5FOoIVZztH\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/www.icgmagazine.com\/web\/wp-includes\/js\/wp-embed.min.js\n\/* ]]> *\/\n<\/script>\n","thumbnail_url":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2020\/02\/mando_header-1.jpg","thumbnail_width":1400,"thumbnail_height":900,"description":"On-set VFX makes a mighty return via the use of LED wall imagery on\u00a0The Mandalorian, the first\u00a0Star Wars\u00a0live-action series for television.\u00a0 by Kevin H. Martin \/ Photos by Francois Duhamel, SMPSP &amp; Melinda Sue Gordon, SMPSP &nbsp; While working on the\u00a0Star Wars\u00a0film\u00a0Rogue One, director of photography Greig Fraser, ACS, ASC, proposed shooting cockpit scenes using an LED screen that displayed the exterior space environments. When implemented, the process would allow the cinematographer to capture in-camera interactive light and reflection effects [&hellip;]"}