This moment is made all the more epic by Han’s earlier declaration that he was only helping the Rebels for the reward money, as it shows how far the cynical smuggler has come since being pulled into the story. Just when it seems as though Luke is about to be shot down by Vader and his squadron of TIE fighters before he can take the shot that will destroy the Death Star, Han shows up in the Millennium Falcon to return fire on the Imperial ships. Han flies in to save the day, Episode IV – A New Hope The Battle of Hoth gave us a classic Star Wars scene: The Rebels figuring out they could jerry-rig their fighters to tie up the walkers with cabling, sending them plummeting into the snow in epic fashion. So learned the Rebels on Hoth, when the Imperial fleet dispatched a phalanx of mighty AT-AT “walkers” to neutralize their base. The problem with putting all your strategic eggs in one basket, any military commander will tell you, is that basket is a prime target for an enemy assault. The Battle of Hoth, Episode V – The Empire Strikes Back The illusion is made more natural by overlapping elements across the foreground, midground and background, creating the effect of looking head-on at the two characters and then beyond them to the ship.27. Meanwhile the ship appears more flat and unfocused in the background. If you divide the scene into three sections, you can see that the illusion of distance is created by placing C-3PO and R2-D2 in greater focus in the foreground, their appearance rendered three-dimensional by the use of light and shadow, giving their bodies a rounded look. The two robotic frenemies appear to be closer to the viewer, while the wrecked spaceship is off in the distance behind them. Take this image of C-3PO and R2-D2 in the far-reaching desert of Tatooine in A New Hope : The Star Wars films are filled with frames that encompass huge expanses of space and vast landscapes. That’s because the placement of objects on the visual plane create the illusion of space between the background, midground and foreground of the scene. But even in traditional 2D film, scenes don’t appear flat. These days, almost every high profile movie is released in 3D. Here are 7 principles of graphic design from a long time ago in a galaxy far, far away… W e went back to the original Star Wars trilogy to take a closer look at how the films employed fundamental principles of design to tell some of film history’s most beloved stories. What facilitates a timeless visual story? Undeniably, what has made A New Hope and its two sequels stand the test of time are its effortlessly fun and engaging story. That being said, the flashy special effects aren’t the only reason why the film was so successful. Critics compared it to 2001: A Space Odyssey in terms of its groundbreaking special effects. People flocked to theatres to see the visually stunning film. When Star Wars (l ater retitled Star Wars Episode IV: A New Hope) first hit theatres in 1977, it broke box office records, grossing $220 million during its initial theatrical run ($859 million with inflation). It’s about ideas.”īut while ideas are what hold a film together at its core, the design techniques used to deliver those ideas have a profound effect on viewer experience. In a 1987 article celebrating the 10 year anniversary of Star Wars, George Lucas boldly stated, “A film is not about technique. What is it about Star Wars that makes it so visually compelling even today?
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