In February 2019, director J.J. Abrams called Cut! for the last time during principal photography of the ninth chapter of the long-running Star Wars saga. Star Wars: Episode IX The Rise of Skywalker concludes the third trilogy in the series the trilogy that began with the Abrams-directed Episode VII The Force Awakens, released in December 2015. That film continued the story of Luke Skywalker (Mark Hamill), Leia Organa (Carrie Fisher) and Han Solo (Harrison Ford) while also introducing a new generation of heroes and villains, including Rey (Daisy Ridley) and Kylo Ren (Adam Driver), respectively.Cinematographer Dan Mindel, ASC, BSC, SASC was behind the camera for both The Force Awakens and The Rise of Skywalker. Speaking with Panavision from his home on Kauai, Mindel clearly recalls Episode IX's last day, which took place on Stage 4 at Pinewood Studios, outside of London. Among other setups, the day's work included shots of Finn (John Boyega) as well as portions of a flashback involving Rey and her parents (Jodie Comer and Billy Howle).
No one wanted the day to end, Mindel recounts. It was an exciting day, but it was a sad day it was genuinely really emotional. Working on a couple of these movies with the same crew and cast made for a very cohesive family experience. Everyone was very close.
The conclusion of principal photography also brought one last gate check for the production's Panaflex Millennium XL2 cameras. The nine-film saga finished as it began, with 35mm film rolling through a Panavision camera fitted with Panavision anamorphic glass.
Production on the original Star Wars released in 1977 and subsequently given the longer title of Star Wars: Episode IV A New Hope commenced on the salt flats at Nefta, Tunisia. On Monday, March 22, 1976, writer-director George Lucas called Action! for the first time on Star Wars, and a Panaflex camera rolled to speed for a scene outside of Luke Skywalker's home on the desert planet Tatooine.
Cinematographer Gil Taylor, BSC had been tapped to shoot the original Star Wars. His camera package for the film included Panaflex No. 21, which had previously been used on such features as The Wind and the Lion, French Connection II, The Man Who Would Be King and The Secret Life of Plants. The filmmakers paired the cameras with C Series anamorphics.
After wrapping in Tunisia, the Star Wars production moved to the stages at EMI Studios-Elstree in Borehamwood, England, near London. That facility would also house the stages for the first sequel in the franchise, Episode V The Empire Strikes Back, for which Lucas handed the directing reins to Irvin Kershner, with cinematographer Peter Suschitzky later to join the ranks of the ASC behind the camera.
Suschitzky had interviewed for the original Star Wars, so he joined the sequel already knowing producers George Lucas and Gary Kurtz. They were very keen that we should get the best possible result on the screen, the cinematographer shared. They said, What do you want to test? Which cameras do you want to test?' So I had total freedom to bring in any anamorphic system I wanted.
Suschitzky's final choice echoed Taylor's, giving Episode IV and V a continuity of Panavision C Series anamorphic glass. We used a combination of the PSR and Panaflex-X cameras, Suschitzky explained. Toward the end of the filming for the last two or three months we switched over to a normal Panaflex. We then used the Panaflex-X as a second camera.
The original trilogy concluded in 1983 with the release of Episode VI Return of the Jedi, which saw Richard Marquand assume the director's chair, with Alan Hume, BSC serving as cinematographer. Following that film's release, the movie saga was widely considered to be complete, but that changed in 1997, when Lucas released Special Edition versions of each film in the original trilogy, with updated effects, new shots and even new scenes.
The Special Editions served as a technological testing ground for the long-rumored prequel trilogy, which jumped back in time to tell the story of Luke Skywalker's father, Anakin. Episode I The Phantom Menace premiered in 1999, Episode II Attack of the Clones followed in 2002, and Episode III Revenge of the Sith concluded the trilogy in 2005. Behind the scenes, all three movies saw Lucas resume his place in the director's chair, with David Tattersall, BSC serving as cinematographer.
Lucas initially hoped to be able to shoot all three prequel features digitally, but the production schedule for The Phantom Menace proved to be just ahead of the technological curve. The movie went into production with a traditional photochemical process, but behind the scenes, the race was on to make Lucas' digitally captured dream a reality in time for Attack of the Clones.
Panavision said they were interested in making the lenses, Lucas explained. So we got them together with Sony and said, We want to be able to shoot Episode II with this [digital system]. That gives you about two and a half years. Can you get it done in time?' And they replied, Yup, we'll do it.' And they did.
Panavision's involvement in the project included Panavising Sony's nascent HDW-F900 2/3 high-definition digital video camera, developing a new range of cine-style accessories for the camera, and designing and building the Primo Digital series of lenses, which were specifically conceived to offer double the resolving power of 35mm-format optics so that the 2/3 HD image would hold up on cinema screens. This was a giant experiment for everybody, and nobody knew if it was going to work, Lucas reflected. Both companies really went out on a limb.
The risk brought reward, and Attack of the Clones became the first major theatrical release to have been captured entirely digitally with 24p HD cam
