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Star Wars: Tales of the Jedi – Redemption Issue #4

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Star Wars: Tales of the Jedi – Redemption Issue #4

Diego abril 26, 2019 1 minuto de lectura

Star Wars: Tales of the Jedi - Redemption

Ulic is haunted by his decisions, but will his next decision be the worst of all? Plus, Vima vows to become a Jedi.

Star Wars: Tales of the Jedi - Redemption

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Star Wars Fact File #87 #starwars #starwarsfan #s

Star Wars Fact File #87

#starwars #starwarsfan #starwarsday #starwarsnerd #starwarsedit #starwarsfigures #starwarsart #starwarsfanart #starwarsfans #starwarsdaily #starwarsgeek #starwarscollection #starwarscollector #starwarslife #starwarslove #starwarsland #starwarsmovie #starwarssaga #starwarsartwork #starwarsphotography #starwarscelebration #starwarsnerd #StarWarsDay #laguerradelasgalaxias #starwarsfac

Star Wars Fact File #87 #starwars #starwarsfan #s

Star Wars Fact File #87

#starwars #starwarsfan #starwarsday #starwarsnerd #starwarsedit #starwarsfigures #starwarsart #starwarsfanart #starwarsfans #starwarsdaily #starwarsgeek #starwarscollection #starwarscollector #starwarslife #starwarslove #starwarsland #starwarsmovie #starwarssaga #starwarsartwork #starwarsphotography #starwarscelebration #starwarsnerd #StarWarsDay #laguerradelasgalaxias #starwarsfac

Star Wars Fact File #87 #starwars #starwarsfan #s

Star Wars Fact File #87

#starwars #starwarsfan #starwarsday #starwarsnerd #starwarsedit #starwarsfigures #starwarsart #starwarsfanart #starwarsfans #starwarsdaily #starwarsgeek #starwarscollection #starwarscollector #starwarslife #starwarslove #starwarsland #starwarsmovie #starwarssaga #starwarsartwork #starwarsphotography #starwarscelebration #starwarsnerd #StarWarsDay #laguerradelasgalaxias #starwarsfac

Star Wars Fact File #87 #starwars #starwarsfan #s

Star Wars Fact File #87

#starwars #starwarsfan #starwarsday #starwarsnerd #starwarsedit #starwarsfigures #starwarsart #starwarsfanart #starwarsfans #starwarsdaily #starwarsgeek #starwarscollection #starwarscollector #starwarslife #starwarslove #starwarsland #starwarsmovie #starwarssaga #starwarsartwork #starwarsphotography #starwarscelebration #starwarsnerd #StarWarsDay #laguerradelasgalaxias #starwarsfac

Star Wars Fact File #87 #starwars #starwarsfan #s

Star Wars Fact File #87

#starwars #starwarsfan #starwarsday #starwarsnerd #starwarsedit #starwarsfigures #starwarsart #starwarsfanart #starwarsfans #starwarsdaily #starwarsgeek #starwarscollection #starwarscollector #starwarslife #starwarslove #starwarsland #starwarsmovie #starwarssaga #starwarsartwork #starwarsphotography #starwarscelebration #starwarsnerd #StarWarsDay #laguerradelasgalaxias #starwarsfac

Star Wars Fact File #87 #starwars #starwarsfan #s

Star Wars Fact File #87

#starwars #starwarsfan #starwarsday #starwarsnerd #starwarsedit #starwarsfigures #starwarsart #starwarsfanart #starwarsfans #starwarsdaily #starwarsgeek #starwarscollection #starwarscollector #starwarslife #starwarslove #starwarsland #starwarsmovie #starwarssaga #starwarsartwork #starwarsphotography #starwarscelebration #starwarsnerd #StarWarsDay #laguerradelasgalaxias #starwarsfac

Star Wars Fact File #87 #starwars #starwarsfan #s

Star Wars Fact File #87

#starwars #starwarsfan #starwarsday #starwarsnerd #starwarsedit #starwarsfigures #starwarsart #starwarsfanart #starwarsfans #starwarsdaily #starwarsgeek #starwarscollection #starwarscollector #starwarslife #starwarslove #starwarsland #starwarsmovie #starwarssaga #starwarsartwork #starwarsphotography #starwarscelebration #starwarsnerd #StarWarsDay #laguerradelasgalaxias #starwarsfac

Star Wars Fact File #87 #starwars #starwarsfan #s

Star Wars Fact File #87

#starwars #starwarsfan #starwarsday #starwarsnerd #starwarsedit #starwarsfigures #starwarsart #starwarsfanart #starwarsfans #starwarsdaily #starwarsgeek #starwarscollection #starwarscollector #starwarslife #starwarslove #starwarsland #starwarsmovie #starwarssaga #starwarsartwork #starwarsphotography #starwarscelebration #starwarsnerd #StarWarsDay #laguerradelasgalaxias #starwarsfac

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Vídeo de YouTube VVV2czhnMktCLVo0dG82aHFBSk8xME1BLldXSkUzelZDQXlF

This ~5:43 short behind-the-scenes featurette highlights the massive scale of the art and design departments for the film, emphasizing how Revenge of the Sith continued to expand the visual scope of the Star Wars galaxy with new planets, sets, vehicles, and environments.

Key Highlights

Art Department Workflow: It shows the split between the conceptual art team (at Skywalker Ranch, working closely with George Lucas) and the on-the-ground filmmaking art department in Australia. Frequent video conferences kept everything aligned.

Design Process: Covers set elevations, prop making, costumes, creature design, and construction. It captures the early stages where teams were building sets, props (like blasters), and environments while the script was still evolving.

Expanding the Universe: Focuses on creating new or enhanced locations (e.g., Padmé’s veranda, Mustafar, Kashyyyk/Wookiee elements) and how the designs built on previous films while pushing the epic scale—new vehicles, architecture, and details to make the prequel trilogy feel grand and cohesive.

Team Insights: Features comments from production designer Gavin Bocquet, concept artists, prop makers, and others on the collaborative, fast-paced process of turning Lucas’s vision into physical (and digital) reality.

Fair Use: Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended.This is only for entertainment. This belongs to it's respective owners.

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This ~5:43 short behind-the-scenes featurette highlights the massive scale of the art and design departments for the film, emphasizing how Revenge of the Sith continued to expand the visual scope of the Star Wars galaxy with new planets, sets, vehicles, and environments.

Key Highlights

Art Department Workflow: It shows the split between the conceptual art team (at Skywalker Ranch, working closely with George Lucas) and the on-the-ground filmmaking art department in Australia. Frequent video conferences kept everything aligned.

Design Process: Covers set elevations, prop making, costumes, creature design, and construction. It captures the early stages where teams were building sets, props (like blasters), and environments while the script was still evolving.

Expanding the Universe: Focuses on creating new or enhanced locations (e.g., Padmé’s veranda, Mustafar, Kashyyyk/Wookiee elements) and how the designs built on previous films while pushing the epic scale—new vehicles, architecture, and details to make the prequel trilogy feel grand and cohesive.

Team Insights: Features comments from production designer Gavin Bocquet, concept artists, prop makers, and others on the collaborative, fast-paced process of turning Lucas’s vision into physical (and digital) reality.

Fair Use: Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended.This is only for entertainment. This belongs to it's respective owners.

Email: starwarslatinamerica@gmail.com

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https://paypal.me/starwarslatinamerica

If you like to buy us some coffee.
https://ko-fi.com/starwarsla

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#starwars #starwarsfan #starwarsmovie #returnofthejedi #starwarsdisney #starwarsmovie #starwarsedit #disney #darthvader

"Epic Designs for an Expanding Universe" - (Revenge of the Sith Documentary)

"Video Village" is Episode 6 of the Star Wars: Episode III – Revenge of the Sith Web Documentaries (2005).

Key Highlights from the Documentary

Digital Monitoring Advances: It discusses how the production used HD digital cameras with high-resolution plasma screens and monitors scattered around the set. This allowed George Lucas and the crew (including director of photography David Tattersall) to see shots in real-time and full color, unlike traditional film video taps (which were often small and black-and-white).

Benefits: Easier to check framing, details, cosmetics (e.g., reflections on C-3PO or R2-D2), and overall composition. They often shot with multiple cameras.

George Lucas's Approach: Lucas would watch from the Video Village "theater" area but would step out to the camera for crucial actor moments to connect directly with performances.

Interviews/Commentary: Features insights from Lucas, crew members, and others on the transition to digital tech, the "cutting edge" feel, and how it improved accuracy compared to shooting "blind" on film.

Fair Use: Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended.This is only for entertainment. This belongs to it's respective owners.

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"Video Village"- (Revenge of the Sith Documentary)

Overview
It explores the creation and significance of weapons in the Star Wars universe, with a strong focus on lightsabers (the elegant weapon for a more civilized age) and other props. It ties directly into Obi-Wan’s iconic line to Anakin in Attack of the Clones: “This weapon is your life.”
Key Content

George Lucas on Weapons: Lucas discusses how each culture in the galaxy has signature weapons reflecting their ideology. Drama requires conflict and violence, so the films feature a wide variety of arms. He explains designing the electrostaffs for General Grievous’s MagnaGuards—energy weapons that lightsabers can’t cut through (like Superman needing kryptonite).

Prop Creation Process: Features the prop department (including Ty Teiger) showing the workflow: concept sketches → 3D mockups → final props. They built everything in-house for secrecy. Highlights include blasters scaled for large alien hands and detailed sculpting for organic/mechanical looks.

Lightsaber Props:
Hero and stunt versions (including rubberized chrome stunt sabers for fights).
Connections to the original trilogy: Obi-Wan’s saber (Alec Guinness), Anakin/Luke’s, and Darth Vader’s.
George Lucas casually handling props and joking about “getting rid of” Anakin’s saber to link to A New Hope.

Practical Effects & Stunts: Coverage of fight choreography needs, Ewan McGregor’s preferences for his saber, and how props support the action (e.g., Grievous’s bodyguards).

The featurette blends interviews, behind-the-scenes footage of prop-making, and Lucas’s commentary. It emphasizes how weapons enhance storytelling and continuity across the saga.

Fair Use: Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended.This is only for entertainment. This belongs to it's respective owners.

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"This Weapon Is Your Life" - (Revenge of the Sith Documentary)

The piece focuses on the concept art and early design phase for General Grievous in the art department at Lucasfilm. Key participants include concept artists like Warren Fu and Ian McCaig, with input from George Lucas.

George Lucas’s Vision: Lucas wanted a new iconic villain as the leader of the Separatist droid armies—a cyborg/alien in a droid shell. This design foreshadows Anakin Skywalker’s transformation into Darth Vader (an “echo” of organic being turned mechanical). He emphasized making the character scary, capable of dialogue, and not a Sith. Lucas encouraged the team to draw from their worst nightmares.

Design Process: The art department operated like a “jazz band ensemble,” with artists pitching ideas collaboratively. Multiple concepts were presented in meetings (some more mechanical, devilish, or even a small child on a hoverchair guarded by droids—quickly rejected for not being threatening enough).

Warren Fu’s Winning Sketch: At the last minute, Fu finished marker-ing up a sketch he had started earlier. Lucas immediately picked it during a review, loving the “human/animal eyes” that would show whites and convey an organic (ugly) interior beneath the droid exterior. This became the foundation for the final design.

Challenges: Artists avoided making Grievous too much like Darth Vader. The final look blended alien organic elements with heavy robotics, including four arms for multi-lightsaber combat.

The featurette includes behind-the-scenes footage of concept art presentations, artist interviews, and Lucas’s comments.

Fair Use: Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended.This is only for entertainment. This belongs to it's respective owners.

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"Creating General Grievous" - (Revenge of the Sith Documentary)

"One World, Two Movies" is the exact title of the second web documentary in the official Making of Star Wars: Episode III – Revenge of the Sith series (often paired with the first one, "Two Worlds, One Movie").

What it's about:

It continues the story from the first webisode, focusing on George Lucas arriving in Sydney (Australia) and the shift from remote teleconferencing between the two production hubs (Australia for principal photography/live-action and the US/ILM for visual effects) to on-site collaboration.

It shows how the "two worlds" (or two movies in production) came together into one cohesive film, covering pre-production pace, set building, and the global team effort.

Fair Use: Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended.This is only for entertainment. This belongs to it's respective owners.

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"One World, Two Movies" - (Revenge of the Sith Documentary)

The exact title of that short documentary-style piece is "Star Wars Episode III: We Still Do A Little Bit" (sometimes referred to as a webisode in the Making of Revenge of the Sith series). It highlights the practical, in-camera special effects work alongside the heavy CGI.

Key highlights from it:

It shows the team using practical methods for things like wire work, actors performing in water (to capture realistic performances and interactions that would be costly/less convincing digitally), gimbals for ship movements, steam jets, and more.
A key line near the end (around 5:22) is: "And they think that ILM does everything. We still do a little bit..." — emphasizing that even with advanced digital tools, they relied on old-fashioned practical effects.
It features stunt work, set pieces, and George Lucas-era filmmaking blending physical and digital techniques.

Fair Use: Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended.This is only for entertainment. This belongs to it's respective owners.

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"We Still Do a Little Bit , Special effects, the old fashion way - (Revenge of the Sith Documentary)

"Two Worlds, One Movie" is the first webisode (short behind-the-scenes documentary) in the official Making of Star Wars: Episode III – Revenge of the Sith series.

It introduces the dual-location production of Revenge of the Sith:

Filming split between Australia (Sydney’s Fox Studios for many live-action sets and studio work) and the United States (primarily ILM in California for visual effects and additional filming).

It highlights how George Lucas and the team managed a global production, bridging the two "worlds" into one cohesive movie.

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"Two Worlds, One Movie"- (Revenge of the Sith Documentary)

Star Wars: Empire at War (often called EaW) is a real-time strategy (RTS) game released in 2006 by Petroglyph Games and LucasArts. It's set during the Galactic Civil War (between Episode III and IV), letting you command massive fleets and armies across the galaxy as the Rebel Alliance, Galactic Empire, or (with the expansion) the criminal Zann Consortium.

Core Gameplay:

Galactic Conquest Mode: Strategic layer where you conquer planets, build economies, research tech, and manage fleets across a galactic map.

Tactical Battles: Real-time fights on the ground (with infantry, vehicles, heroes like Darth Vader or Luke Skywalker) and in space (capital ships, starfighters, boarding actions).

Key features include hero units, special abilities, planet bonuses, and epic moments like calling in the Death Star.

Fair Use: Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended.This is only for entertainment. This belongs to it's respective owners.

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Star Wars: Empire at War Trailer

"Battle of the Heroes" is the iconic orchestral track by John Williams (with the London Symphony Orchestra) from the Star Wars: Episode III – Revenge of the Sith soundtrack. It plays during the climactic lightsaber duel between Obi-Wan Kenobi and Anakin Skywalker on Mustafar.

It's one of Williams' most powerful pieces, blending tragedy, heroism, and intensity—often praised as a standout in the Star Wars saga.

Fair Use: Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended.This is only for entertainment. This belongs to it's respective owners.

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"Battle of the Heroes" - Star Wars Episode III Revenge of the Sith.

Star Wars: Episode III – Revenge of the Sith (2005) Final Trailer refers to the main theatrical trailer (often called Trailer 2 or the Release Trailer), which premiered in theaters on March 11, 2005 (attached to Robots), and went online shortly after.

It is widely regarded by fans as one of the best (and most spoiler-heavy) Star Wars trailers ever made. It features intense editing, and heavily foreshadows the film's tragic plot, including Anakin Skywalker's fall to the dark side and the rise of Darth Vader. The score mixes John Williams' new Battle of the Heroes motif with classic themes, creating a haunting, epic tone.

Political Intrigue & Tension: Quick cuts of dialogue-heavy scenes show the Jedi Council's distrust of Anakin/Palpatine, Anakin's appointment to the Council (but denied Master rank), Obi-Wan’s concerns, and rising tensions. Lines like "We are at war, Anakin," "That's treason," and "I need your help, son" highlight the manipulation and division.

Action Montage: Fast-paced clips of epic battles, lightsaber fights, space combat, clone troopers, droids, and key locations (including Mustafar's volcanic landscapes). It shows Obi-Wan, Yoda, Padmé, and others in high-stakes moments.

Dark Turn & Climax: Escalates with Order 66 implications ("Every single Jedi is now an enemy of the Republic... Show no mercy"), Anakin's corruption ("Twisted by the dark side, young Skywalker has become"), emotional beats with Padmé ("I feel so helpless"), and the iconic Obi-Wan/Anakin confrontation ("You were the chosen one!").

Vader Reveal: Iconic shots of Anakin's transformation into Darth Vader, including the suit-up/rebirth sequence on the operating table with Vader breathing and Palpatine’s "Rise, Lord Vader."

Fair Use: Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended.This is only for entertainment. This belongs to it's respective owners.

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Star Wars: Episode III – Revenge of the Sith (2005) Final Trailer

Political scenes / Seeds of Rebellion: Senators (Padmé, Bail Organa, Mon Mothma, others) discuss forming a group (the Delegation of 2,000) to oppose Palpatine's growing power. Includes talks about changes to the constitution and Palpatine taking control of the Jedi Council. Helps set up the Rebellion's origins.

Fair Use: Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended.This is only for entertainment. This belongs to it's respective owners.

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Political scenes / Seeds of Rebellion- (Revenge of the Sith Deleted Scene)

Grievous kills Shaak Ti (early in the Battle of Coruscant): Obi-Wan and Anakin witness Grievous stabbing Shaak Ti. (There was also an alternate where Anakin kills her in the Jedi Temple after turning.) This was cut partly because Shaak Ti's death was handled differently in other media.

Fair Use: Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended.This is only for entertainment. This belongs to it's respective owners.

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Grievous kills Shaak Ti (Revenge of the Sith Deleted Scene)

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