The Book of Boba Fett:
A Case Study
Navigating Uncharted Territory: A Case Study on Our Remote Virtual Art Department Process for "The Book of Boba Fett"
In the dynamic landscape of filmmaking, the intersection of art, VFX, and cinematography has never been more pivotal. As the industry of Virtual Production continues to expand, our team at Narwhal Studios took on the challenge of serving as the bridge between these domains, empowering production designer Andrew Jones and his art department with a Virtual Art Department team, to deploy new processes and cutting-edge technologies for "The Book of Boba Fett." This case study explores efficiencies we found during our transition from "The Mandalorian" to "The Book of Boba Fett," and challenges posed by the pandemic while reshaping our virtual art department process.
Bridging Different Departments
Narwhal Studios' journey began with "The Mandalorian," where the team acted as the connective tissue between the creative minds in the art, VFX, and camera departments. Their team empowered the art department with cutting-edge virtual set designers, virtual production workflows, photogrammetry techniques, and more – all while working remotely. This was no small feat; they constructed entire sets from the ground up, taking them through every stage until they reached their approved form.
Cinematographer David Klein, ASC, a collaborator on both "The Mandalorian" and "The Book of Boba Fett," attests to the value they brought to the production. He notes that key decisions typically relegated to post-production must be made upfront to shoot successfully on an LED volume. Narwhal Studios was pivotal in this process, taking concepts from storyboards through motion capture and technical visualization. The result was a seamless integration of artistry and technology that brought the series to life. As Klein puts it: "They always do a hell of a job."
One of the most fascinating aspects of their work was how closely the final product aligned with their virtual art department's Unreal Engine environments and camera placements. The synergy between the virtual creations and the on-set reality was nothing short of astonishing.
The Transition to The Book of Boba Fett
When "The Book of Boba Fett" came knocking, Narwhal was already well-versed in the Star Wars universe, having successfully completed two seasons of "The Mandalorian." The familiarity of the franchise, its characters, and its lore were their guiding stars. The team had established a solid foundation, including asset libraries and virtual art department tools, which facilitated the rapid creation of new sets and notes.
However, one major curveball was thrown their way—the Covid-19 pandemic. Their previous collaborations had relied on in-office review processes with VR headsets, but the pandemic forced them into uncharted territory: remote virtual location scouting.
Undeterred, they swiftly pivoted, distributing equipment to their team members' homes and setting up a multi-user virtual scouting process that operated seamlessly, as if they were all in the same room—all while maintaining the original production timeline despite the challenges posed by the pandemic. There were no shortcuts; the clock ticked as usual.
On the technical front, Narwhal established the pre-production foundation and Perforce servers for the virtual art department and visualization teams to work seamlessly. Their goal was to ensure that the remote workflow mirrored what the creative team was accustomed to in the office. They achieved this successfully, bridging the gap between the physical and virtual realms.
Lessons Beyond Technology
"The Book of Boba Fett" taught invaluable lessons that transcend technological expertise. It was about the art of remote collaboration and the management of complex logistics under less-than-ideal circumstances. The team developed agility, adapting on the fly as the project evolved.
"The Book of Boba Fett" taught invaluable lessons that transcend technological expertise.
Reshaping Our Processes
"The Book of Boba Fett" was simultaneously familiar and entirely new. It reshaped the virtual art department process, making management and tools more resilient. The team emerged from this experience with a deeper understanding of remote collaboration and a commitment to delivering top-tier work, even when faced with unforeseen challenges.
PROJECT STATS
• 160+ Virtual Stage Walks With Production Designer
• 50+ Prelight & Camera Blocking Sessions With DP For
Techviz
• 32 Virtual Location Scouts With Key Decision Makers
• 10 Virtual Art Department Artist
• 8 Months Of Set Design
• 25 Hero Sets With Multiple Variants
• 80+ Set Variants
• 5 Captured Locations
• 60+ Set Dressing Assets
• 100+ Lighting Scenarios
• 500+ Cameras Placed
COLLABORATORS
• EP & Writer: Jon Favreau
• EP & Writer: Dave Filoni
• EP & Director: Robert Rodriguez
• Production Designer: Andrew Jones
• Virtual Production Producer: Clint Spillers
• DP: David Klein
• DP: Dean Cundy
• Set Decorator: Amanda Serino
• Director: Steph Green
• Director: Bryce Dallas Howard
• Director: Kevin Tancharoen
