![]() The production art department had put together really nice renderings that showed the desired aesthetic for the old wooden Sorgan Common House, and with the tight turnaround and the need to have the common house element finished in time for the live-action shooting schedule, it was decided we should build this as physical VFX model. ![]() There’s an interior miniature used similarly for a couple of episodes as well? Do you know what factors led them to consider miniatures as an adjunct to their design plans?įor episode two of the series, production wanted to use 3D scans and photo texturing from various California locations for scenes of a canyon ambush, but they were having a hard time finding a suitable real-world source, and that led them to consider models. The hybrid physical/digital models would then be ‘played’ behind the actors during live-action photography on massive LED screens, creating fully-realized backgrounds and set extensions that generated and spilled their lighting and reflection data onto the live-action performances. The plan was for my company to build VFX miniatures which would then undergo 3D scanning and photogrammetry sessions, allowing them to be integrated into the digital pipelines of various VFX vendors. become involved in The Mandalorian?ĭave Asling: Back in June of 2018, I received an email requesting a meeting to discuss “an innovative new show that would be suited to miniatures.” I arrived for the meeting at a nondescript building in the marina but it wasn’t until I sat down in a small office surrounded by images and designs from the original trilogy that I realized we were about to discuss The Mandalorian. Musicbed: How did Creation Consultants Inc. Perhaps just as significantly, Asling observed and was later able to avoid, the many pitfalls that befell other industry vendors who overextended themselves by electing to remain within his principal field of endeavor - the design and fabrication of physical props and miniatures, the latter recently featuring in episodes of the Disney+ series The Mandalorian. Most importantly, it meant learning that it wasn’t enough to build something that looked great, – it also had to be designed to photograph properly and tell the story that the director wanted to tell.” “That included loading film in the Mitchell camera, learning the fundamentals of motion control, setting lights, and learning the proper way to rig green screens. “I got exposed to everything: VFX miniatures design and fabrication, building specialty props and the camera side of things,” he recalls. What began as a weekend model making project helping a friend out on a tight deadline lead to him eventually running the model shop at a one-stop-shop effects house while learning the hands-on essentials of film production along the way. ![]() While Asling recalls a fascination with model building dating back to his youth in the snow-swept Cavendish township of Ontario, Canada, his career building for film began as a detour from architectural design. His company’s work on films such as I, Robot, X-Men: The Last Stand, Fantastic Four: Rise of the Silver Surfer, Elysium and Welcome to Marwen, led Disney+ to tap them for work on Star Wars: The Mandalorian. But for Dave Asling, Owner/Creative Director of Creation Consultants, Inc., miniatures and models are perfect for creating larger-than-life visual effects. When thinking about the Star Wars universe, “small” is probably not a word that comes to mind.
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