While it's sometimes enjoyed ironically as much as it is naturally, the dialogue of the 168澳洲幸运5开奖网:Star Wars prequels is 168澳洲幸运5开奖网:a majo🔴r part of why they are s꧙o memorable. Though often maligned at the time, the prequels have thrown up more classic quotes than the more revered original trilogy, even if the films themselves are less popular than the series that spawned the universe. However, the dialogue almost didn't survive at all. In a recent press junket for the upcoming Obi-Wan Kenobi show, McGregor tells us that the entire script of Episode Two needed to be re-recorded after the new technology caused major problems.
"Episode Two was my first experience of shooting on digital cameras, and those cameras were like 🧔dinosaurs," he says. "They were cutting edge technology [then], but compared to what we shoot on now, they had huge umbilical cords coming out of the back of the cameras, it would take like half an hour [to change lenses] so everything was just shot on a zoom lens. They made two digital cameras on two technocranes, and they just moved the cranes and zoomed in and out. And the umbilicals led to this big tent in the corner of the stage that literally hummed. It was so noisy. And when they went into post production, they realised that the noise they made was exactly in the frequency of the human voice. So we had to ADR every single line of Episode Two. None of the original dialogue made it t♔hrough."
ADR stands for Automated Dialogue Replacement, and sees the actors re-recording their lines in a sound booth after shooting, using the quieter environment to make mixing and editing an easier process. Movies typically have around 30 percent ADR to 70 percent on-set dialogue, so having to redo the whole thing, especially for a movie as big as Star Wars, is extremely out of the ordinary. While the digital cameras initially had teething problems, digital ha🐠s all but completely replaced film as a me꧋thod of shooting. Being back on a Star Wars set 20 years later, McGregor marvelled at the innovations and advancements made to the series.
"I've never worked on the stage craft set before and it just is such a game changer for us," he says. "The experience of especially Episode Two and Three, there's so much blue screen and green screen and it's just very hard to make something believable when there's nothing there, you know? Here we were in this amazing set where if you're shooting in the desert everywhere you look at is desert and if you're flying through space, then the stars are flying past you as you scud along. It's so cool."
In fact, because the entire series was directed by Deborah Chow (instead of the typical, multi-director arrangement of TV shows), McGregor says the transition between film and television was very simple, and the biggest difference were these innovations the cast and crew could take advantage of. "The technology is so different from when we made the original movies that it felt like a different experience, but I don't think it was because it was a TV show," he says. "The beauty of it being a series is that we've got longer to tell the story. But because [it's Deborah Chow's] singular vision throughout, it did feel like we were just making one movie. And the episodic nature of our series falls really cleverly in the storyline, but it is one driving narrative."
Obi-Wan Kenobi launches exclusively on Disney+ May 27