Grady Cofer (‘The Mandalorian’ VFX) on combining a virtual production with practical effects for ’emotional reaction’ [Exclusive Video Interview]
“I come to this show as a fan. There’s really nothing like working in the ‘Star Wars’ universe,” admits Grady Cofer. The industry veteran serves as visual effects supervisor for “The Mandalorian” on Disney+. He picked up an Emmy nomination for Outstanding Special Visual Effects in a Season or Movie, the first of his career, for harnessing a vast array of effects tools to create a galaxy far, far away. Watch the exclusive video interview above.
“It’s a different animal because this is a big virtual production,” details Cofer, “It actually means that it plugs visual effects and animation into the process pretty much from the outset.” Unlike many television productions, the visual effects department of “The Mandalorian” is involved in the early planning stages. Cofer listens to pitches and looks at design concepts based on the finished scripts. This early integration allows time for Cofer to map out which sequences might use practical elements versus ones that will be conjured with StageCraft technology on the digital set known as The Volume.
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He works closely with production designer Andrew Jones and his virtual art department during this early phase. They construct virtual sets, creatures and environments which can then be explored in virtual reality. “We go into VR and we actually walk through these sets and we talk about maybe the ways we might want to shoot it. All of that then feeds pre-vis,” explains Cofer. In order to create a world that feels real and alive, he is selective about which elements are digitally generated in StageCraft. “I think we’ve learned a lot over the years about what works best using that technology,” he suggests, “So we tried to use it where it could really shine.”
Season 3 features a digital effects-heavy flashback sequence which showcases the rescue of baby Grogu from the infamous “Order 66.” This was a turning point in the history of the franchise where clone troopers assassinated most of the Jedi. Kelleran Beq ushers the youngling to safety, battling droids in the Jedi Temple (shot largely on The Volume) and fleeing through the crowded skyways of Coruscant on a speeder (which placed the actor on a motion base to capture real movement).
Cofer previously worked on “Star Wars: Attack of the Clones” and many of his colleagues helped on the prequel era trilogy as well. So, capturing the aesthetic of those movies during this flashback was a natural fit for the team. “They brought back all of the original buildings and vehicles from “Clones” and from “Sith”…and they started this process of upgrading them and up-rezing them,” reveals Cofer. They wanted to honor the legacy of the franchise while presenting an updated look at an important moment in the lore. “We wanted the audience to feel like they’ve been transported back to that kind of a magical time, and that kind of horrific event in the history of ‘Star Wars.’ So it was a big endeavor, but it was kind of a joy to do,” describes Cofer.
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Using The Volume provides unique possibilities for incorporating digital elements, but practical effects are also paramount to the success of “The Mandalorian.” The overall philosophy for effects in the series is “definitely to aim for the highest level of computer graphics and animation,” details Cofer, “But then to really balance that with all the old school, more traditional techniques: the model miniatures, and animatronics, and practical creature effects and puppeteering like Grogu.” The tiny hero is growing more agile thanks to his use of the Force, even battling some lethal Praetorian Guards in the season 3 finale. But the team always aims to shoot every scene with the puppeteers performing all of the youngling’s actions, and only digitally enhancing it when absolutely necessary. “So, you’d be surprised how often it really is Grogu,” mentions Cofer, “even flipping through the air. I mean, we shoot everything.”
Whether it’s a highly articulate puppet, or a massively powerful virtual creation, Cofey feels like he has everything he could possibly need at his disposal to create vibrant new worlds. “The tools have kind of caught up a little bit with our imagination,” offers the effects artist, “If you can think it, and someone could kind of paint it…the tools are out there to generate it.” The limitless possibilities that these tools present has pushed visual effects beyond simply creating a “cool” image. “I think it’s not just about making pretty pictures, it’s about: are you telling a good story? And if you’re lucky: is that image that you’re creating, lasting?” asks Cofer. “And if you’re really lucky, maybe you’ve even moved the audience in a way and caused an emotional reaction. Because at the end of the day, that’s really what it’s all about.”
“The Mandalorian” marks Cofer’s first Emmy nomination. He is an Oscar and BAFTA nominee for “Ready Player One.” He also earned five Visual Effects Society Award nominations for “Terminator 3: Rise of the Machines,” “Jarhead,” “Battleship,” and “Noah.”
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