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What Is Next For Star Wars Battlefront II?

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What Is Next For Star Wars Battlefront II?

Diego octubre 1, 2019 1 minute read

What Is Next For Star Wars Battlefront II?

In this video we discuss what is next for Star Wars Battlefront 2, now that Clone Wars content has come to an end! What do you think of Battlefront 2 taking a break from Clone Wars content?

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Star Wars Fact File #77 #starwars #starwarsfan #s

Star Wars Fact File #77

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

Star Wars Fact File #76 #starwars #starwarsfan #s

Star Wars Fact File #76

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

Star Wars Fact File #76 #starwars #starwarsfan #s

Star Wars Fact File #76

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

Star Wars Fact File #76 #starwars #starwarsfan #s

Star Wars Fact File #76

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

Star Wars Fact File #76 #starwars #starwarsfan #s

Star Wars Fact File #76

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

Star Wars Fact File #76 #starwars #starwarsfan #s

Star Wars Fact File #76

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

Star Wars Fact File #76 #starwars #starwarsfan #s

Star Wars Fact File #76

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

Star Wars Fact File #76 #starwars #starwarsfan #s

Star Wars Fact File #76

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

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The Radiant VII is the Republic Consular-class space cruiser that opens Star Wars: Episode I - The Phantom Menace (1999). It's the ship that carries Jedi Master Qui-Gon Jinn and his Padawan Obi-Wan Kenobi to Naboo as ambassadors to negotiate with the Trade Federation during the blockade crisis.

The vessel docks with the massive Trade Federation battleship Saak'ak. Captain Maoi Madakor (the pilot) and her copilot are on board, hailing the Federation with the classic line about Jedi ambassadors. But Darth Sidious orders the ship destroyed to eliminate the Jedi threat immediately.

Turbolasers obliterate the Radiant VII in one of the franchise's most memorable opening destruction scenes—Qui-Gon and Obi-Wan barely escape into the hangar bay just in time.

This short but iconic appearance sets the entire prequel trilogy in motion, showing the Republic's diplomatic approach clashing with the Sith's shadowy aggression right from the start.

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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The Radiant VII is the Republic Consular-class space cruiser that opens Star Wars: Episode I - The Phantom Menace (1999). It's the ship that carries Jedi Master Qui-Gon Jinn and his Padawan Obi-Wan Kenobi to Naboo as ambassadors to negotiate with the Trade Federation during the blockade crisis.

The vessel docks with the massive Trade Federation battleship Saak'ak. Captain Maoi Madakor (the pilot) and her copilot are on board, hailing the Federation with the classic line about Jedi ambassadors. But Darth Sidious orders the ship destroyed to eliminate the Jedi threat immediately.

Turbolasers obliterate the Radiant VII in one of the franchise's most memorable opening destruction scenes—Qui-Gon and Obi-Wan barely escape into the hangar bay just in time.

This short but iconic appearance sets the entire prequel trilogy in motion, showing the Republic's diplomatic approach clashing with the Sith's shadowy aggression right from the start.

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 Archives Episodes I, II, III - Creating the Radiant VII Ship (Episode I).

Lucrehulk-class battleship (also called the Trade Federation battleship or Droid Control Ship) from Star Wars: Episode I - The Phantom Menace (1999). These massive ring-shaped vessels blockaded Naboo and served as the backbone of the Trade Federation's fleet.

Design Origins and Concept
The Lucrehulk-class was originally a civilian Lucrehulk-class LH-3210 cargo freighter built by Hoersch-Kessel Drive Inc. The Trade Federation modified their existing freighters into warships rather than building new military vessels from scratch—this was a cost-effective choice for a profit-driven corporation. The distinctive ring design (with a central spherical core) came from practical retrofitting: the outer ring provided huge cargo holds (later adapted for hangars, droid storage, and weapons), while the core housed command centers and control systems.

Concept development for The Phantom Menace was led by Doug Chiang (design director) and the ILM art department, under George Lucas's direction. Lucas wanted a retro, saucer-like aesthetic to evoke classic UFO/flying saucer vibes, but with a clear front/rear orientation.

Early concepts leaned toward a more traditional solid saucer shape.
Doug Chiang added antennae/docking ports on one side and engines on the other to define directionality.
Lucas personally suggested the central "bridge ball" (the spherical core) to finalize the look, giving it asymmetry and character.

This resulted in the unique ring-with-core design seen in the film.
Here are some visual examples of the concepts and final design:
(Original sketch/concept of the Lucrehulk-class battleship, showing early ring design evolution.)
(Early flying saucer-style concept model for the Trade Federation battleship.)
(Final Lucrehulk-class battleship as seen in The Phantom Menace, with its massive ring structure and central sphere.)

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 Archives Episodes I, II, III - Creating the Trade Federation battleship (Episode I).

The creation of Jar Jar Binks for Star Wars: Episode I – The Phantom Menace (1999) was a groundbreaking milestone in filmmaking, marking one of the first fully photorealistic, computer-generated main characters in a live-action movie.

Conception and Casting
George Lucas envisioned Jar Jar as a key comedic and narrative element in the prequel trilogy. The character drew physical inspiration from silent film comedian Buster Keaton (for his slapstick physicality and expressive movements). Lucas wanted a fully digital character to push visual effects boundaries.

The role went to actor, comedian, and performer Ahmed Best. Best was performing in the stage show Stomp in New York when he auditioned. He did a screen test with Lucas at Industrial Light & Magic (ILM), and shortly after was offered the part. Best provided:

The voice (that distinctive Gungan accent and speech patterns)
On-set physical performance
Early motion capture data

He flew to London for principal photography and later worked with ILM teams.

On-Set Performance
Ahmed Best wore a special suit during filming — often a rubbery, textured bodysuit with markers for motion tracking, plus stilts or platforms to match Jar Jar's tall, lanky proportions (around 7 feet). The suit helped actors and crew visualize eyelines, scale, and interactions.

Best performed every scene in real time on set, doing all the physical comedy, gestures, and dialogue. This included interacting with real actors like Ewan McGregor, Liam Neeson, and Natalie Portman. The suit was hot, cumbersome, and required intense physical commitment — Best essentially acted as a live puppet/reference for the digital version.

Motion capture (mocap) was used in tests and some sequences at ILM, an early adoption of the tech (pre-dating widespread use in films like The Lord of the Rings). Best's movements were recorded to serve as the foundation for the CG animation.

This made him one of the most technically demanding characters in The Phantom Menace.

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 Archives Episodes I, II, III - Creating JarJar Binks (Episode I- The Phantom Menace).

The making of Watto in Star Wars: Episode I – The Phantom Menace (1999) is a fascinating example of early fully digital character creation at Industrial Light & Magic (ILM). He was one of the first major CG characters the team tackled for the prequels, pushing boundaries in animation, performance capture, and physics simulation.

Design and Concept Phase:
Watto was conceived by George Lucas as a Toydarian junk dealer—greedy, winged, and immune to Jedi mind tricks. Early concepts were more avian (with plumage and a beak), but the design evolved through artists like Doug Chiang (visual effects production designer) and Terryl Whitlatch. They started with an "ugly cherub-like" base, refining it into the pot-bellied, blue-skinned, trunk-nosed look we know. One key change: original designs had two large tusks, but they blocked lip movement for speech sounds like "m" or "b," so one tusk was removed for his signature lopsided grin. An early Neimoidian pirate concept even influenced his facial structure. Maquettes (small physical models) were built to test the look.

Performance and On-Set Reference:
Actor Andrew Secombe provided Watto's voice (that distinctive nasally, high-pitched accent) and performed on set in a reference suit/makeup. This gave animators accurate eye-lines, lighting references, and motion cues—no full puppet or animatronic was used for final shots, though reference tools helped.

Animation and Technical Challenges at ILM:
Watto was the first CG character ILM fully developed for the film, serving as a testbed for photorealistic digital actors. Key hurdles:

Simulating his heavy, pot-bellied body and flapping wings realistically (he hovers constantly).
Creating rich facial expressions and lip-sync from wireframe models.
Writing custom simulation programs—even the cord on his tool belt needed its own physics code (later reused for Jar Jar Binks' ears).

This made him one of the most technically demanding characters in The Phantom Menace.

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 Archives Episodes I, II, III - Creating Watto (Episode I- The Phantom Menace).

the Naboo Royal Starship (also commonly called Queen Amidala's royal starship or Padmé's ship).

It's a sleek, chrome-plated J-type 327 Nubian royal starship, designed for elegance and diplomacy rather than combat—reflecting Naboo's peaceful, artistic culture. It has no weapons and relies on its speed, deflector shields, and escort fighters for protection.
Key details from the film:

Queen Padmé Amidala (disguised as a handmaiden at times) uses it to escape the Trade Federation's invasion and blockade of Naboo.
Piloted by Captain Ric Olié.
It gets damaged during the escape from the blockade (R2-D2 famously fixes the shield generator).
The group lands on Tatooine for repairs, where they meet young Anakin Skywalker.
It then continues to Coruscant for Padmé to appeal to the Senate, and later returns to Naboo for the final battle.
Tradition called for the monarch to personally name the ship, but due to the crisis, Padmé never did—so it remains officially unnamed beyond its type and role.

It's one of the most iconic ships from the prequels thanks to its stunning, streamlined silver design (often compared to real-world aircraft like spy planes for its futuristic look).

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 Archives Episodes I, II, III - The Making of the Naboo Royal Starship (Episode I)

Palpatine discusses with Anakin how the Senate will grant him more power, including direct control over the Jedi Council to end the war quickly. Anakin expresses concern about the Jedi's reaction, but Palpatine reassures him. This expands on Palpatine's manipulation and foreshadows Anakin's appointment to the Council.

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 Archives Episodes I, II, III - Anakin and Palpatine Reunion Deleted Scenes (Episode III)

The Star Wars Prequel Trilogy (Episodes I–III: The Phantom Menace, Attack of the Clones, and Revenge of the Sith) is renowned for its groundbreaking concept art and drawings. Led by visionary artists like Doug Chiang (who headed the design team and brought a sleek, elegant futuristic style to the Republic era), Iain McCaig (famous for character designs like Darth Maul's early terrifying iterations), and Ryan Church (who crafted epic environments like Mustafar), these pieces shaped the prequels' iconic look—from gleaming Naboo starships to volcanic hellscapes and intricate Jedi/Sith battles.

These artworks (often found in official books like The Art of Star Wars: Episode I/II/III or Star Wars Art: Concept) highlight the creative process behind the prequels' visual spectacle. Many early ideas were bolder or darker, but the final versions helped define a whole generation's view of the Star Wars galaxy's "golden age" before the Empire.

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 Archives Episodes I, II, III - Drawings from the Star Wars Prequel Trilogy

The Star Wars Prequel Trilogy (Episodes I–III: The Phantom Menace, Attack of the Clones, and Revenge of the Sith) features some of the most visually ambitious and memorable scenes in the saga. George Lucas pushed boundaries with heavy use of CGI, digital filmmaking (especially in Episodes II and III), practical sets, miniatures, and intense stunt work—despite the common critique of over-reliance on green/blue screens.

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 Archives Episodes I, II, III - Filming the most iconic scenes (Star Wars Prequel Trilogy)

The Jedi wardrobe in the Star Wars prequel trilogy (Episode I: The Phantom Menace, Episode II: Attack of the Clones, and Episode III: Revenge of the Sith) is iconic for its monastic, practical, and understated design. Costume designer Trisha Biggar crafted these looks to evoke a sense of ancient wisdom, humility, and discipline, drawing from real-world monastic robes (like those of Buddhist monks or medieval friars) while fitting the galaxy far, far away.

Unlike the elaborate royal gowns of Padmé or the militaristic armor of clones, Jedi apparel emphasizes functionality for warriors who serve peace—loose for movement in combat, layered for protection, and neutral in color to symbolize detachment from material excess.

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 Archives Episodes I, II, III - Jedi Wardrobe (Star Wars Prequels)

Anakin Skywalker and Padmé Amidala's "refugee" wardrobes in Star Wars: Episode II - Attack of the Clones (2002) appear during their secretive journey from Coruscant to Naboo, after assassination attempts force Padmé to leave the capital undercover. They pose as a married couple (or refugees) from the Thousand Moons system to avoid detection, blending in on a freighter while traveling incognito. This disguise is brief—mostly seen in departure scenes from Coruscant, aboard the ship, and upon arrival in Theed—before Padmé switches to more elegant Naboo looks at the lake retreat.

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 Archives Episodes I, II, III - Refugee Disguise (Attack of the Clones)

Star Wars Archives Episodes I, II, III - The Special Effects of the Star Wars Prequel Trilogy

The Gungan world primarily refers to the underwater domains of the Gungans on the planet Naboo in the Star Wars universe. The Gungans are an amphibious species native to Naboo, sharing the planet with the human Naboo people (like Queen Amidala's culture), but they mostly live in hidden underwater cities to maintain their isolationist lifestyle.
Their most famous and prominent city is Otoh Gunga (often just called Gungan City), located deep beneath the surface of Lake Paonga. It's a breathtaking marvel of Gungan technology: a vast cluster of glowing, jewel-like hydrostatic bubble structures connected by energy fields and tunnels. These bubbles create breathable atmospheres inside while keeping the water out, and they're rigid enough to withstand the lake's pressure but flexible enough for Gungans to swim through special portals.

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 Archives Episodes I, II, III - Creating the Gungan World in Episode I - The Phantom Menace

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