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Star Wars Bounty Hunter Code (2014) – Making a killing

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Star Wars Bounty Hunter Code (2014) – Making a killing

Diego junio 15, 2020 1 minute read

Making a Killing

Making a Killing was an autobiography written by the Trandoshan bounty hunter Cradossk. It chronicled his rise to the top of the Bounty Hunters’ Guild.

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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 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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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.

Email: starwarslatinamerica@gmail.com

If you like to Donate:
https://paypal.me/starwarslatinamerica

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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

"Creating the Worlds of Episode III - Revenge of the Sith" refers to the behind-the-scenes process of building the expansive, immersive environments and planets in Star Wars: Episode III – Revenge of the Sith (2005).

George Lucas and his team at Lucasfilm, Industrial Light & Magic (ILM), and the art department pushed digital filmmaking further than ever before, blending practical sets, miniatures, location shooting, and heavy CG to realize key worlds like Coruscant, Mustafar, Kashyyyk, Utapau, and others.
Key Worlds and How They Were Created

Coruscant (urban planet, Senate, Jedi Temple, opera house):
Building on Episodes I and II, the team expanded the ecumenopolis with massive digital cityscapes. The new opera house scene used practical chairs shot against bluescreen in Australia, combined with digital/miniature architecture for the opulent, gilded interior. Production designer Gavin Bocquet's team created detailed blueprints and studies, often zapped digitally between Skywalker Ranch and shooting locations.

Mustafar (volcanic duel planet):
One of the most iconic and challenging. Early concepts drew from Ralph McQuarrie's sketches of lava worlds. The team built large-scale practical sets (e.g., foam-carved lava fields) for actor interaction, then layered in extensive CG by ILM artists like Jeremy Cook and Yannick Dusseault for rivers of lava, eruptions, and platforms. The final lightsaber duel environment mixed greenscreen stages, miniatures, and digital extensions to create a hellish, flowing volcanic landscape.

Kashyyyk (Wookiee homeworld):
A lush, tree-based planet recreated with a mix of miniatures (massive tree city models at ILM), plate photography, and digital landscapes. Practical elements like foliage props were used on set for interaction (e.g., Tarfful clearing branches). It was designed to feel exotic and impossible in reality, with the battle sequences combining these elements for breathtaking scale.

Utapau (sinkhole city planet):
Entirely digital/CG-heavy, with sprawling underground cities built through pre-visualization, art department designs, and ILM's environment work. Practical sets were minimal, focusing on actor platforms against greenscreen.

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 Worlds of Episode III - Revenge of the Sith

The iconic Palpatine vs Yoda matchup is one of the most debated in all of Star Wars, especially since we actually see them clash in Revenge of the Sith (Episode III).
In current Star Wars canon (post-2014 Disney continuity), their duel in the Senate chamber ends with Yoda retreating after being overpowered in the Force lightning exchange and falling to a lower level. Official sources (like the Star Wars Databank and various tie-in materials) describe it as Darth Sidious (Palpatine) being too strong for Yoda to defeat, overwhelming him with the dark side's power. Yoda didn't "lose" in the sense of being killed—he chose to flee because continuing the fight would likely end in his death, and he realized the Jedi's immediate cause was lost after Order 66. The fight is often called a stalemate in terms of skill, but Palpatine held the edge in raw dark side power and achieved his strategic goal (the Jedi Order shattered, Empire rising), while Yoda survived to train the next generation.
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 - Yoda VS Palpatine (Darth Sidious) Animatronics(Episode III)

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