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The American Society of Cinematographers | Star Wars: Miniature and…

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Detailing the intricate production of the film’s visual effects, utilizing a novel motion-control camera system. By John Dykstra Special Photographic Effects Supervisor In June of 1975, I was contacted by George Lucas and Gary Kurtz with regard to my supervising the photographic special effects for Star Wars. These first meetings with George and Gary outlined effects scenes that involved spacecraft engaged in acrobatics that any stunt pilot would be proud of: Three or four ships performing rolls or loops while firing lasers at each other in the classic “dog fight” tradition. All this was to occur while being viewed from a camera platform that itself needed the fluidity and freedom of motion of a camera plane. This visual concept was a far cry from the locked-off camera approach to spacecraft miniature photography seen in the space classics of the past. This was a challenge, to say the least. As the meetings and story breakdown continued, it became clear that this film would not showcas

Detailing the intricate production of the film’s visual effects, utilizing a novel motion-control camera system. By John Dykstra Special Photographic Effects Supervisor In June of 1975, I was contacted by George Lucas and Gary Kurtz with regard to my supervising the photographic special effects for Star Wars. These first meetings with George and Gary outlined effects scenes that involved spacecraft engaged in acrobatics that any stunt pilot would be proud of: Three or four ships performing rolls or loops while firing lasers at each other in the classic “dog fight” tradition. All this was to oc

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