{"id":7483,"date":"2017-12-15T10:53:53","date_gmt":"2017-12-15T18:53:53","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=7483"},"modified":"2021-05-30T19:51:19","modified_gmt":"2021-05-31T02:51:19","slug":"in-the-name-of-the-father","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/in-the-name-of-the-father\/","title":{"rendered":"In The Name Of The Father"},"content":{"rendered":"

The penultimate episode of cinema\u2019s greatest franchise has arrived. So which is more surprising?: who\u00a0really<\/em>\u00a0are The Last Jedi\u2019s<\/em>\u00a0heroes and villains, or its indie creators with an edgy new vision?<\/span><\/p>\n

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You\u2019d have to go back to Shakespearean literature to find a more tangled family tree than that in\u00a0<\/span><\/span>Star Wars<\/i><\/span><\/span>, the epic sci-fi adventure series sprung from George Lucas\u2019 imagination more than four decades ago. The original trilogy (Episodes IV, V, and VI) revealed its na\u00efve young hero, Luke Skywalker, to be the son of his hated nemesis, Darth Vader\/Anakin Skywalker, and the beautiful young princess fighting empirical tyranny was Luke\u2019s twin sister.\u00a0<\/span><\/span><\/p>\n

Star Wars\u2019<\/i><\/span><\/span>\u00a0prequels (Episodes I, II, and III), which highlighted the backstories of Luke, Anakin\/Vader, Obi-Wan (Ben) Kenobi \u2013 the ancient Jedi knight who trained Anakin \u2013 and Emperor Palpatine\/Sith Lord, were also steeped in moral ambiguities, and Lucas could have ended the series with\u00a0<\/span><\/span>Revenge of the Sith<\/i><\/span><\/span>, which precedes the shared journey of father and son \u2013 the former\u2019s fall from grace and redemption, the latter\u2019s passage from na\u00eff to savior \u2013 completed in\u00a0<\/span><\/span>Return of the Jedi<\/i><\/span><\/span>.\u00a0But then came <\/span><\/span>The Force Awakens<\/i><\/span><\/span>\u00a0(Episode VII) a decade later, with a new set of heroes and villains who all possess equally tenuous family connections.\u00a0The Walt Disney Company has released only a few trailers for\u00a0<\/span><\/span>The Last Jedi\u00a0<\/i><\/span><\/span>(Episode VIII); and given the lack of information they provide, narrative surprises \u2013 who are Rey\u2019s parents? Will Kylo Ren go from dark to light? Does a grizzled old Luke turn away from the Force? \u2013\u00a0are guaranteed.<\/span><\/span><\/p>\n

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What may be more surprising than any story twist was the methodology writer\/director Rian Johnson <\/span><\/span>and his longtime cinematographer Steve Yedlin, ASC, ch<\/span><\/span>ose<\/span><\/span>. Joined by 2<\/span><\/span>nd<\/span><\/sup><\/span>\u00a0Unit DP Jaron Presant (who worked on all three of Johnson\u2019s previous indie features), and Production Designer Rick Heinrichs (whose credits include Tim Burton and Coen brothers films),\u00a0<\/span><\/span>Jedi\u2019s<\/i><\/span><\/span> creative team took an approach steeped in Johnson and Yedlin\u2019s indie roots: rigorous planning of the broad strokes so that flexibility on-set could focus on fine-grained finessing. <\/span><\/span><\/p>\n

\u201cI don\u2019t want to downplay the massive scale and excitement,\u201d observes Yedlin about being part of the\u00a0<\/span><\/span>Star Wars\u00a0<\/i><\/span><\/span>franchise<\/span><\/span>.<\/i><\/span><\/span>\u00a0\u201cBut this really felt like the family was back together: another Rian Johnson movie. It wasn\u2019t a ship steered by a faceless corporation.\u201d<\/span><\/span><\/p>\n

Yedlin adds that, \u201ceven before prep started, Rian said there was no pressure to make this look like another movie in the franchise. Moreover, he was clear that our style of working and our aesthetics would not have to change because it was\u00a0<\/span><\/span>Star Wars.\u00a0<\/i><\/span><\/span>Rian wrote the script, it was his vision, and we really approached everything as we\u2019ve always done together, which is not to sledgehammer the movie into a simple visual box, but to design each scene as needed.\u201d<\/span><\/span><\/p>\n

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This creative mind melding\u00a0has allowed Yedlin to explore his prime artistic strengths\u00a0\u2013lighting and color rendition.<\/strong> The cinematographer says Johnson is very collaborative in both lighting and camera, \u201cbut whereas Rian is hands-on with the specifics of lensing, when it comes to lighting, what he gives me is much more subjective. He trusts me to take his conceptual ideas and bring them to life in the details.\u201d <\/span><\/span><\/p>\n


\nOne such example from\u00a0Jedi\u2019s<\/em> second trailer involves a black-helmeted, black-gloved figure (Kylo Ren, or perhaps Snoke?) picking up a lightsaber from a black glossy floor. The entire background is filled with a deeply saturated red light, providing a stark (and unsettling) contrast to the foreground. A voice-over intones about someone with \u201craw, untamed power\u2026.\u201d<\/span>
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\nYedlin says the scene was discussed at length between him, Johnson and Production Designer Rick Heinrichs. \u201cWe came up with a specific color of red and a physical way to do it that we all liked,\u201d he shares, \u201cand then made a commitment not to hold back in any way. It\u2019s a good example of how carefully color was designed in this movie.\u201d<\/span><\/span><\/span><\/p>\n


\nHeinrichs says that the color palette in Star Wars<\/em> is often restrained, \u201cin keeping with the black-and-white concept of a \u2018space western.\u2019 Used sparingly, [red] can have a huge emotional impact, and Rian and Steve\u2019s use of the color as both a ping to the Emperor\u2019s guards in Return of the Jedi and of the status of the environments in which the color occurs looked spectacular.\u201d<\/span><\/span><\/p>\n

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\nYedlin, a highly technical shooter by anyone\u2019s bar, says his facility for color science dovetailed with the aesthetic color design of the movie through the use of a global show LUT he created that allowed him to \u201cbe confident I could use daring colors or exposures and know that the result would provide the intended painterly look with very little shot-to-shot color grading.\u201d
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\nJedi was captured primarily with Kodak 5219 (in Panavision\u2019s XL2 cameras) and with ARRI ALEXA (using both ARRIRAW and ProRes4444). Film and digital elements were brought in to a show-specific neutral space using LUTs designed by Yedlin and then, from the neutral space, all footage received a single show LUT, which emulated the look of traditionally contact-printed film.<\/span><\/span><\/span><\/span><\/p>\n


\n\u201cWe couldn\u2019t have done this five years ago on Looper<\/em>,\u201d he continues. \u201cAt that time, color grading was tethered to film recording and could only visualize how the footage would look when you filmed it out, so the process was predictive, not purposive. On Jedi, the neutral space LUTs brought the various cameras together, and then the show LUT gave us our look: very similar to the look we would have gotten if we\u2019d have contact-printed film negative, even though we didn\u2019t actually print anything.\u201d <\/span><\/span><\/p>\n


\nYedlin says the film elements were brought into the digital neutral space using a Scanity scanner with custom\/fixed settings that pegged digital code values to physical negative densities. The digital footage was brought to the neutral space with a LUT that mapped (the ALEXA\u2019s) LogC (color space) to the same densities and colors as the film scans.\u00a0\u00a0 \u00a0<\/span><\/span><\/p>\n


\nThe cinematographer lit the movie to his global show LUT much like a traditional combo of camera negative and print stock. An example is that the \u201cvery bold red we designed [for the aforementioned scene],\u201d he expounds, \u201cwould have a \u2018filmy\u2019 painterly feel. In traditional contact printing, the reds go a bit yellow and can\u2019t be both very bright and highly saturated at the same time, unlike the customary video\/electronic palette, which has more magenta reds that might be both bright and saturated. Having the color science figured out upfront meant we didn\u2019t have to build this stuff from scratch in post. It was all there from the beginning.\u201d<\/span><\/span><\/p>\n

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Building an in-camera foundation also factored into\u00a0<\/b><\/span><\/span>Jedi\u2019s<\/i><\/span><\/span>\u00a0visual effects, which, according to VFX Supervisor Ben Morris, with ILM in London, numbered close to 2000 shots.\u00a0<\/span><\/span><\/p>\n

\u201cRian was coming from a traditional [film] background,\u201d Morris recalls, \u201cand he wanted to do as much as he could practically, which is a recurring theme of many filmmakers these days. I showed him some of my previous work [with Framestore], with the goal of showing how an effective mix of practical and digital effects can keep the audience guessing.\u201d<\/span><\/span><\/p>\n

Morris, who worked as VFX Supervisor on\u00a0<\/span><\/span>The Force Awakens\u00a0<\/i><\/span><\/span>(Roger Guyett was lead VFX Supervisor as well as 2<\/span><\/span>nd<\/span><\/sup><\/span>\u00a0Unit Director), says there is a visual language in\u00a0<\/span><\/span>Star Wars\u00a0<\/i><\/span><\/span>that many people on the franchise grew up with, \u201cmyself, J.J. [Abrams], Rian, and Steve included. The goal is to evolve that language without disconnecting from it,\u201d he observes.\u00a0<\/span><\/span><\/p>\n

\u201cContrary to popular belief,\u201d Morris laughs, \u201c[digital artists] prefer <\/span><\/span>real photographed elements as a basis for VFX shots<\/span>. That helps ground the shot and make the VFX seamless. Rian, Steve and I lobbied to capture as much as possible on location.\u201d<\/span><\/span><\/p>\n

One happy marriage, seen in the trailer, is a long wide shot (alluded to in Rey\u2019s vision in\u00a0<\/span><\/span>The Force\u00a0<\/i><\/span><\/span>Awakens<\/i><\/span><\/span>) of a Jedi temple in flames, with Luke and R2-D2 in the foreground. The temple is where Luke had trained a new generation of Jedi, including his own nephew, Ben Solo, who would later become a Dark Side leader with followers from the Knights of Ren.\u00a0<\/span><\/span><\/p>\n

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Morris says the striking night shot was done on a sound stage with foreground elements lensed against blue screen, and embers and wind machines provided for foreground texture.\u00a0<\/span><\/span><\/p>\n

\u201cThe background had a combination of 3D environments, matte paintings, effects simulations and quite a lot of practical elements,\u201d Morris describes.\u00a0<\/span><\/span><\/p>\n

Regarding concept art for the sequence, Heinrichs explains that\u00a0\u201cphysical models have always played an important part in our development process. And while technology that truly places the viewer within a walkabout virtual space is impressive, it\u2019s not <\/span><\/span>yet<\/i><\/span><\/span> agile or efficient enough for practical set visualization discussions.\u201d<\/span><\/span><\/p>\n

Still, Heinrichs discovered on <\/span><\/span>Jedi <\/i><\/span><\/span>that \u201cthe flattened environment spheres\u201d exported by many 3D modeling programs can be reconstituted by an iPad app (like <\/span><\/span>Kolor Panotour Viewer)<\/span><\/span> and the tablet\u2019s onboard technology into a manipulative window on a virtual environment.\u00a0<\/span><\/span><\/p>\n

\u201cThis allowed Rian, Steve, Ben, and myself, with an iPad, to stand in the middle of a set on stage before it was built, as well as view proposed VFX elements and extensions while the set was being shot,\u201d he explains. \u201cThis off-the-shelf tech gave us the confidence on the burning temple set to refine the blend between physical and digital elements, using foreshortened ground rows and textures to extend the reach of what is illuminated on stage into the background.\u201d\u00a0<\/span><\/span><\/p>\n

Yedlin says that to create the firelight on characters\u2019 faces for the temple burn and other fire-lit sequences, he photographed real fire in prep, and then calculated corresponding HSI chromaticity coordinates to program into the arrays of ARRI SkyPanels (more on that later) that he had worked out with Gaffer David Smith (<\/span>Avengers: Age of Ultron, Guardians of the Galaxy<\/i><\/span>). Yedlin adds that this was before the existence of the SkyPanels\u2019 new \u201cx, y\u201d mode, which would have made the R&D process more streamlined.<\/span><\/p>\n

\u201cThe way that the units flickered depended on the size of the array,\u201d Yedlin recounts. \u201cIn one case we might have<\/span> a 20<\/span><\/span>-foot by 20-foot SkyPanel array hanging from a crane and in another just a single panel. The larger the array, the harder the attack, the faster the oscillation and the wider the contrast range required of each individual luminaire in order for the combined effect to feel right.\u201d<\/span>\u00a0<\/span><\/span><\/p>\n

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Interactive lighting was another key aspect of\u00a0<\/b><\/span><\/span>Jedi\u2019s<\/b><\/i><\/span><\/span>\u00a0<\/i><\/span><\/span>look, particularly for the many moving vehicle scenes in space or in planetary atmosphere. Yedlin and Smith created a hemispheric dome \u2013 360 horizontal degrees by 180 vertical degrees \u2013\u00a0filled with 250 ARRI (LED) SkyPanels that were all controlled through pixel mapping. \u201c<\/span><\/span>For example,\u201d Yedlin explains, \u201can actor in a ski-speeder cockpit may be completely wrapped in sky-colored light one moment, then in the next, the shadow of a passing vehicle might block some of the sky with three-dimensional realism, and then the light on the actor\u2019s face might change realistically as she flies through a fireball and passes oncoming laser bolts.<\/span><\/p>\n

\u201cI know a more popular method is to play back a photographed or CG-rendered scene on an LED video screen,\u201d he adds, \u201crather than using coarse 3D-rendered shapes pixel-mapped to LED luminaires. But we felt that was limiting for multiple reasons: Unlike our agile method that uses motion-picture luminaires, that LED-video-screen method makes it slow or impossible to change the colors or the timing of the scene quickly on set. Also, LED video screens can\u2019t rival purpose-built luminaries for contrast and brightness output, and [unlike luminaries] LED video screens are not designed for their emitted light to be the correct color, even if they appear the correct color when viewed directly.\u201d<\/span><\/p>\n

An example Yedlin cites is an agile flying vehicle executing a barrel roll, not unlike an airplane in the sky. \u201cIn real life, the lighting shift is not very pronounced when the airplane\u2019s cockpit rolls from facing the sky to facing the ground. But in a movie you want to enhance the dramatic effect. Our SkyPanel dome allowed for highly flexible and interactive variations of color and intensity.\u201d Yedlin is quick to add that the dome itself was never used as a hard light projecting sharp shadows. \u201cInteractive hard light, such as a shifting sun, was created by a light on a crane inside the dome, not by the SkyP<\/span>anel array<\/span><\/span> itself.\u201d<\/span><\/p>\n

Jaron Presant says his 2<\/span><\/span>nd<\/span><\/sup><\/span>-unit work with Kylo Ren\u2019s TIE fighter was also shot in Yedlin\u2019s SkyPanel <\/span><\/span>dome because the correct shadows and light interaction were essential to tie physical set elements into the CG world. \u201cWe built extensions to the fighter set piece to mimic the large wings of Kylo Ren\u2019s TIE fighter,\u201d Presant recounts. \u201cWe put cues into the dome to mimic the blocking of ambiance by the other ships that Kylo passes as well as the missiles firing and explosions. The interaction of the light on Kylo is what helps to blend the physical sets into the CG world around them. It was a huge key in making these worlds feel real.\u201d<\/span><\/span><\/p>\n

Heinrichs references an elaborate set built for\u00a0<\/span><\/span>Jedi<\/i><\/span><\/span> that takes place on Canto Bight, a casino-like planet that not only serves as an opulent playground for the wealthiest members of the galaxy but also a place where black-market weapons are sold to any taker. <\/span><\/span><\/p>\n

\u201c[The Canto Bight scenes] reveal a gray moral line that had heretofore seemed mostly black and white,\u201d Heinrichs adds. \u201cSteve used a variation of his SkyPanel dome for a casino bar scene that had a huge window. [Yedlin\u2019s] goal was all about creating action and motion with light, color and shadow, and the results were quite remarkable.\u201d\u00a0<\/span><\/span><\/p>\n

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A main visual reference <\/b><\/span><\/span>for <\/span><\/span>Jedi <\/i><\/span><\/span>was <\/span><\/span>The Empire Strikes Back<\/i><\/span><\/span>, \u201cnot in any direct way, but more as a shorthand for an aesthetic Rian and I share,\u201d Yedlin observes. \u201c<\/span><\/span>Empire\u00a0<\/i><\/span><\/span>is the most daring [<\/span><\/span>Star\u00a0<\/i><\/span><\/span>Wars<\/i><\/span><\/span>] film cinematically speaking. There was always an idea behind the lighting, which is very much what Rian Johnson is all about. One of many examples would be the scene with Leia and Han in the hallway [on Hoth], where their faces are completely dark. The lighting was so evocative, thematically, of the space the characters were in, and that\u2019s something we really love.\u201d <\/span><\/span>Although most of the team\u2019s referencing of <\/span>The Empire Strikes Back <\/i><\/span>was for underlying principles as opposed to literal technique, an exception was that Yedlin dug out color charts from <\/span>Empire<\/i><\/span><\/span>\u2019s <\/i><\/span>production negative <\/span><\/span>\u00ad\u2013 Kodak 5247 \u2013 to help inform his LUT creation.<\/span><\/p>\n

Heinrichs\u00a0says Johnson was aware of the comparisons people would make to a second <\/span><\/span>Star Wars <\/i><\/span><\/span>episode in a trilogy, and rather than \u201ccopy\u00a0<\/span><\/span>Empire<\/i><\/span><\/span>\u00a0in any way, shape or form, we should dig into the foundation of what we liked about it, and build something fresh.\u201d\u00a0<\/span><\/span><\/p>\n

Building lighting into\u00a0<\/span><\/span>Jedi\u2019s\u00a0<\/i><\/span><\/span>sets was a big topic of preproduction conversations between Heinrichs and Yedlin. \u201cThis is where our digital models became so helpful,\u201d the designer continues, \u201cto help Steve and his team figure out where to place their lights, rather than come in after the set is built and start cutting holes.<\/span><\/span><\/p>\n

\u201cObviously with\u00a0<\/span><\/span>Star Wars<\/i><\/span><\/span>\u00a0you just can\u2019t put [any lamp] in a scene because it\u2019s not part of that world,\u201d Heinrichs adds. \u201cBut there is a language to the built-in lighting we\u2019ve seen throughout the series \u2013 the photon-producing type panels of various shapes and design, for example. The closest reference I could make would be the Ken Adams set from\u00a0<\/span><\/span>Dr. Strangelove<\/i><\/span><\/span>\u00a0\u2013 a large overhead source that illuminates with clear intention and lets everything else fall off. We accounted for that in the architecture of our sets \u2013 which would often include frosted Plexiglass \u2013 and that allowed Steve to manipulate light seen in the frame.\u201d<\/span><\/span><\/p>\n

Presant says that for the Canto Bight sequence, Johnson and Yedlin wanted two basic colors of light for the practicals: a rich gold color and clean white. <\/span><\/span><\/p>\n

\u201cSince we were committed to using practical locations and sets as much as possible,\u201d Presant explains, \u201cthere were location practicals that had to conform to this golden color. We developed color correction to take the sodium vapor practicals at the location to the designed golden color. But with that in mind, any other lights we added needed gels to invert that correction. <\/span><\/span><\/p>\n

\u201cWe used the Alexa as a colorimeter,\u201d Presant adds, \u201c<\/span><\/span>comparing color charts illuminated with a variety of gels<\/span> to arrive on a very specific gel package to shift any other lights we might use to the output we were looking for, whether clean white or golden. Then we applied that package to all the lights that played in the sequence. The end result was an environment that commits fully to these two types of practicals but that is grounded in reality.\u201d<\/span><\/span><\/p>\n

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One look at the trailers makes clear some of <\/b><\/span><\/span>Jedi\u2019s <\/b><\/i><\/span><\/span>most compelling <\/b><\/span><\/span>moments will occur on<\/span><\/span> <\/b>the oceanic island of Ahch-To, where Rey has tracked down an exiled Luke Skywalker. It\u2019s also where Johnson and Yedlin were, perhaps, closest to their indie roots. <\/span><\/span><\/p>\n

\u201cThe day exteriors [on the island] account for the least predetermined lighting [in the film],\u201d Yedlin states. \u201cEmploying a large filmmaking apparatus \u2013\u00a0like giant lights on cranes \u2013 wasn\u2019t practical because most of the<\/span><\/span> locations, especially Skellig, were either difficult or impossible to access, due to logistics or restrictions. Plus the weather was constantly changing, so the overall <\/span><\/span>approach was similar to a low-budget indie movie \u2013 given the circumstances, we work to make each shot look as good as we can and don\u2019t try to change the world!\u201d<\/span><\/span><\/p>\n

Presant points to a dramatic shot of Rey seen in the trailer, a night sequence that incorporated an exterior Irish location and a set piece in London. <\/span><\/span><\/p>\n

\u201cWith our day and dusk-for-night work, our goal was to try to attain the low-contrast look of night,\u201d he reflects. \u201cWe waited for the sun to dip and the luminance range of the scene to flatten. Then we shot the wide of Rey that looks toward the water. Back on stage for the reverse coverage, we matched all of our ratios using a large overhead Flo-bank array and shaping with a 20-by-20 soft box with Skypanels. We worked with what nature gave us and then used our resources to build out the sequence back on stage. But it all began with real natural light.\u201d\u00a0<\/span><\/span><\/p>\n

One last interesting note about <\/span><\/span>The Last Jedi<\/i><\/span><\/span> pertains to optics. While the movie was primarily shot in anamorphic, using Panavision <\/span><\/span>G-Series (full set), C-Series Close Focus 50 mm, <\/span><\/span>the AWZ (40-80 zoom) and some other anamorphics<\/span>, Yedlin and Johnson also mixed in spherical lenses (a 19-90-mm Primo Compact Zoom and an assortment of Primo primes). <\/span><\/span><\/p>\n

\u201cWe wanted the idiosyncrasies of anamorphic \u2013 oblong bokeh<\/span><\/span>, <\/span><\/span>curved distortion<\/span><\/span>, its characteristic flares, and the anamorphic <\/span><\/span>\u2018egg\u2019 [the lenses\u2019 inability to focus at the top and bottom of the frame],\u201d Yedlin details.<\/span><\/span> \u201c<\/span><\/span>But there were times that we either didn\u2019t want those idiosyncrasies \u2013\u00a0like if an actor\u2019s face was going to be in the blurry part of the \u2018egg\u2019 \u2013 or when we needed to do a rack focus to closer than an anamorphic can focus. We also sometimes used spherical simply because VFX requested it: either because they wanted the extra image padding outside the framing area or because they wanted a more technically pristine lens.\u201d<\/span><\/span><\/p>\n

Heinrichs, who has mapped out huge franchise projects and small indie films, says the scale of <\/span><\/span>The Last Jedi<\/i><\/span><\/span> had no bearing on the production process. \u201cWe had 160 sets to build, and initially I had some concerns,\u201d he concludes. \u201cBut it didn\u2019t seem to faze Rian or Steve in the slightest. This was one of the most creatively efficient movies I\u2019ve ever worked on, and that may be attributable to their roots [in independent film] and the ability to get where they need to go creatively without throwing more money or time at the scene. The most amazing thing I can offer from this experience is that the movie Rian told me about \u2013 two years <\/span><\/span>before<\/i><\/span><\/span> we started shooting <\/span><\/span>The Last Jedi <\/i><\/span><\/span>\u2013 is the one everyone will see up on the screen.\u201d<\/span><\/span><\/p>\n

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by
\nDAVID GEFFNER<\/p>\n

photos\/framegrabs courtesy of
\nLUCASFILM, LTD<\/p>\n

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LOCAL 600 CREW<\/h3>\n

Director of Photography<\/strong><\/p>\n

Steve Yedlin, ASC<\/p>\n

Still Photographer<\/strong><\/p>\n

David James<\/p>\n

2nd<\/sup> Unit Director of Photography<\/strong><\/p>\n

Jaron Presant<\/p>\n

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ADDITIONAL CREW<\/h3>\n

A-Camera Operator: Gary Spratling
\nA-Camera 1st AC: Simon Hume
\nA-Camera 2nd AC: Tommy Holman
\nB-Camera Operator: David Hamilton-Green
\nB-Camera 1st AC: Lewis Hume
\nB-Camera 2nd AC: Archiebald Muller
\nC-Camera Operator: Angus Hudson
\nAdditional Camera Operator: Tony Jackson
\nIMAX Camera Operator: Peter Field
\nIMAX 1st AC: Dean Thompson
\nIMAX 2nd ACs: Alex Collings, Russell Torode
\nIMAX Technician: Stuart MacFarlane
\nAdditional 1st ACs: Kenny Groom, Spencer Murray, Ryan Taggart
\nAdditional 2nd ACs: Adam Dorney, Kat Spencer, Calem Trevor
\nCentral Loader: Alex Teale
\nCamera Trainees: Jake Powell, Sam Taylor<\/p>\n

2nd Unit<\/p>\n

Camera Operator: Jason Ewart
\n1st AC: Julian Bucknall
\n2nd AC: David Pearce
\nCamera Trainees: Guido Cavaciuti, Toby McKay, Angus Mitchell
\nAdditional DP: Jean-Philippe Gossart
\nAdditional 1st: AC: Adam Coles
\nAdditional 2nd ACs: Alex Bender, Felix Pickles
\nCentral Loader: Morgan Spencer<\/p>\n

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\"DEC2017\"<\/p>\n

Cover Photo by Jonathan Olley<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

The penultimate episode of cinema\u2019s greatest franchise has arrived. So which is more surprising?: who\u00a0really\u00a0are The Last Jedi\u2019s\u00a0heroes and villains, or its indie creators with an edgy new vision? You\u2019d have to go back to Shakespearean literature to find a more tangled family tree than that in\u00a0Star Wars, the epic sci-fi adventure series sprung from George Lucas\u2019 imagination more than four decades ago. The original trilogy (Episodes IV, V, and VI) revealed its na\u00efve young hero, Luke Skywalker, to be […]<\/p>\n","protected":false},"author":1,"featured_media":7484,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[2],"tags":[37,476,474,473,40,478,194,477,242,472,479,475],"class_list":["post-7483","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-icg-magazine","tag-last-jedi-camera","tag-last-jedi-cinematography","tag-last-jedi-dp","tag-local-600","tag-new-star-wars-film","tag-rian-johnson","tag-star-wars-the-last-jedi","tag-steve-yedlin","tag-the-last-jedi","tag-the-last-jedi-cinematography","tag-the-last-jedi-filmmaking"],"acf":[],"yoast_head":"\nIn The Name Of The Father - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/in-the-name-of-the-father\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"In The Name Of The Father - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"The penultimate episode of cinema\u2019s greatest franchise has arrived. 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