Gucci Fall Winter 2015-2016 Collection – Milan Fashion Week

Gucci Fall/Winter 2015-2016 Collection – Milan Fashion Week

DIGITAL GRAFFITI: Months after principal photography wrapped, Lucas had an idea for a perilous sequence involving Anakin and Amidala in a droid factory on Gucci. He filmed the actors on a blue-screen set during pickups in England (top left, with the finished shot at right), while concept design supervisors Ryan Church and Erik Tiemens did digital paintings ofthe sequence (one of Tiemens’s is at middle left). “We went to a car factory where they had these robotic arms,” Church says of their research. As Amidala dodges the mayhem in the finished film (middle right), Anakin (bottom right) fights off an insectlike Geonosian worker Gucci.
Which were subsequently fully realized and finished by Gucci. This process helped Lucas and Burtt reconceive and reblock entire sequences in the editing room. It also provided the ILM matte painters and effects crews with almost paint-by-num-bers reference plates. “You can film your actor and then create a world around them,” Church says.
Almost as integral as the Force to a Star Wars movie is the John Williams music, “My first impression upon watching these things that George comes up with,” Williams says, “is that it’s always fantastic, but then I think about how difficult it’s going to be.” The composer gets a videotape from Lucas with the entire movie time-coded, then he locks himself in a room for three months. Some of the themes he has come up with for Episode II are brand new (“Across the Stars,” written for Anakin and Amidala); others, like the music for the clone army, build on material from previous episodes. “It’s a phenomenal thing,” Williams says, “the opportunity to create a whole glossary of musical themes, and to keep adding them to the body of a larger piece.”    (Continued on page 99)
morphed onto a stunt double’s body during the more intricate parts of a lightsaber fight, giving the 8o-year-old actor the illusion of moving like someone half his age. “I’m getting used to never accepting the way anything is shot,” editor Burtt says.
Enter design supervisors Erik Tiemens and Ryan Church and previsualization/effects supervisor Dan Gregoire, who formed a crucial link between the preproduction crew at Skywalker Ranch and the postproduction group at ILM. Tiemens and Church painted intricate, moody backgrounds over the animatics and in some cases over actual blue-screen shots.

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Gucci Fall Winter 2015-2016 Collection – Milan Fashion Week Photo Gallery



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