Mando's miniatures, puppets, stop-motion and more

Issue #68 of befores & afters magazine covers the visual effects of The Mandalorian and Grogu.

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Lucasfilm brings the beloved duo of Din Djarin (‘Mando’) and Grogu to the big screen in Star Wars: The Mandalorian and Grogu, directed by series creator Jon Favreau. Picking up from the Disney+ series, the film follows the Mandalorian bounty hunter and his young apprentice as they are recruited by the fledgling New Republic to take on a dangerous mission in a galaxy still dealing with the remnants of the fallen Empire.

For a film so deeply rooted in the Star Wars tradition, The Mandalorian and Grogu is also a showcase for just how many different filmmaking techniques can be brought together to create a single cinematic world. Large-scale practical effects sat alongside virtual production, intricate puppetry and animatronics, miniatures and stop-motion, while extensive digital visual effects were used to craft environments, creatures, characters and action. The result is a fascinating blend of old-school craftsmanship and cutting- edge technology—a filmmaking approach that echoes the very foundations of Star Wars while pushing them into a new era.

Industrial Light & Magic, of course, led the effects effort, as well as lending its services via the ILM Art Department. John Knoll was the production visual effects supervisor and Abbigail Keller was production visual effects producer. Hal Hickel served as production animation supervisor. Scott R. Fisher took on special effects supervisor. Legacy Effects was responsible for key puppets, animatronics and character effects. ILM’s Justin van der Lek was production visual effects co-supervisor, while ILM’s other visual effects supervisors on the film were Jeff Capogreco and Tania Richard. Meanwhile, a number of vendors assisted ILM in crafting shots, including Important Looking Pirates, Hybride, Image Engine, Lola VFX and Tippett Studio, the latter studio delivering a key stop-motion sequence. Both ILM and The Third Floor delivered previs.

This special issue of befores & afters magazine goes in- depth into the many effects techniques used to make The Mandalorian and Grogu. There’s special attention given to new innovations to make and film the miniature Razor Crest and other ships, the unique combination of puppetry and CG animation for Grogu and the Anzellans, the realization of the stop-motion Hutt palace guards, and the significant work behind the digital characters and environments.