“We’ve got a pretty close relationship with Lucasfilm, so we’ve been working on R&D stuff for quite a while, and in the process of doing so, we were invited into Rogue One and then into Solo. For Solo, the original goal was doing really large format projection setup for a “space yacht,” you could call it — and in doing that, the rest of the group, and in particular, visual effects supervisor Rob Bredow, also wanted to explore the possibility of replacing the projection with the LED work they were doing for the cockpit and other spaceship work. We ended up setting up a projection rig to also handle the Falcon cockpit.” explains Phil Galler of Lux Machina.
“We also did some interactive LED lighting, surrounding a vehicle or set with some low-res LED and driving some plates through it, and getting the interactive lighting from that setup. We also did that for the Falcon, all of the speeder work, and a handful of other ships like that. The main three key sets were the Speeder chase and the LEDs, the large projections for the space yacht, and the high-res projection and camera work on the Falcon.”
Phil continues, “There was a point when the production rewrote part of the script, and they had to go back and get dialogue, so we replicated the lighting from the projection on LED screens that we had already hung to do the speeder work. The LEDs are never in camera, it’s just the interactive lighting work from the screens themselves.”