![]() I’m sure you remember Han Solo spouting this off to Skywalker trying to express the speed of his ship. ![]() “ You’ve never heard of the Millennium Falcon? … It’s the ship that made the Kessel run in less than 12 parsecs.” -Han Solo’s Kessel Run quote ![]() What is a Parsec, and what does it have to do with the Kessel Run? But since I can’t, I am going to ruin it for every other casual Star Wars fan (like myself)! Let me tell you what I have now learned about Han Solo, the Millennium Falcon, and the 12 Parsec Kessel Run. The things I learned disturbed, and I wish I could un-learn them. It had been a while since I have watched the complete series, and I decided to look some things up as I watched. Regardless, the Kessel run and how it relates to parsecs is still misleading.Īs crazy as it sounds, I willing went to watch Star Wars I in 3D, Afterwards, I went home to watch the rest of the series. Had I not already been elbow deep in parsac research I would have still been confused. However, throughout the entire film, they never really explain what a parsec really is. ![]() I think we had over a dozen Millennium Falcon models that we were swapping in from shot to shot and keeping track of the continuity throughout the Kessel Run.Udate: Han Solo’s Kessel Run is the focus of Solo: A Star Wars Storry. We worked our way through the destruction of the layers of shielding on the outside of the Millennium Falcon, so we could slowly reveal what we called Han’s Falcon. He sent out kind of a road map - when this asteroid hits this part, we’ll knock this component off. One of our favorite projects was to figure out how to go from Lando’s Falcon - this glossy, clean, pristine Falcon that we’ve never seen before - and slowly transform this ship over the course of the Kessel Run into something much closer to the Falcon that we know and love. How did you go about showcasing its transformation? The Falcon takes so much abuse in that sequence. It was super fun to be doing special effects live on set on a “Star Wars” movie, but it did require a lot of work in advance of the shoot. We could interactively respond to the demands on set in a real-time way. We had all sorts of looping moments and interactive elements that we could change in real time to address Ron Howard’s ideas or to backlight the characters in a certain way if Bradford Young had notes. We also built 120-130 cues throughout that Kessel Run, so it wasn’t like you’d press play and it would play for 20 minutes. It was like doing a 20-minute-long simulator ride like you’d go on at Disneyland before we had even started shooting. Those shots were done at a very high resolution, 8K, so even higher resolution than we would have to do for the highest-quality movie theater because of the way the screen wrapped around. Industrial Light & Magic had to generate 20 minutes of full-quality finished visual effects before we even shot a second of footage. How much front-end work did that require to have that imagery ready to go prior to filming? We had a bunch of shots where what we saw on set was exactly what we put in the movie. It brings a real visceral feel to that sequence. Bradford Young, our director of photography, used the screen as the primary lighting source for that sequence, so you get this amazing integration between the actors and the world that they’re in. So when the actors were sitting in the cockpit, they actually saw the Kessel Run happening in front of them live. On that screen, we had five projectors showing really high-resolution media that Industrial Light & Magic had created. What we did, instead of setting up a blue screen around the cockpit as we’ve done many times in the past, we used a rear-projection screen that was wrapped around the cockpit 180 degrees. We knew it was going to be a big challenge to make it spectacular and fun. He’s introduced in “Star Wars” bragging about having made the Kessel Run in less than 12 parsecs. You tackled a vital part of Han Solo lore here.
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