THE CASE STUDIES

The basic approach was nothing new: film an actor in front of a projected image, and voilà—a bounty hunter crosses the tundra of a far-off planet. Except now, with LED screens, ILM and the “Mandalorian” team found a way to make a normally obvious technique (think Hitchcock) nearly impossible to detect.  And if they could so convincingly bring distant planets to a stage in Manhattan Beach, why couldn’t we bring the tri-state area to Burbank? Could we use LEDs to eliminate the time and money lost to company moves? Increase production value? Shoot more in a day? The questions didn’t end there. What’s pixel pitch? How close can you put an actor to the LED screen? Does lens length effect moiré? Is there room to improvise camera angles? How much prep do you need? What’s the best size and shaped volume for the scene? And what’s a “volume,” anyway?  Only one way to find out.