Netflix’s dark sequel relies on Dark to Star Wars innovation.

In season three, Baran Bo Odar and Janta Fries created what is probably the most well-known German Netflix series with Dark. New to him Mysterious project In 1899, both of them again worked with the streaming service. An earlier oppressive teaser foreshadowed the film’s filming debut.

In addition to the mystery of what the dark sequel will be, already impressive Special technique, With which the ambitious project will be realized. For the future of films and series, the filming method already used in the Star Wars universe will certainly still play a large role.

Netflix ‘1899 is made from the revolutionary The Mandalorian Technology

A so-called “volume” set was already used in the Star Wars series. The series is almost entirely made here Video wall rotation or rotation With digital background. Unlike the usual green screen process, the background is practically displayed “live” and captured directly with the camera.

Here you can see the first teaser about Netflix’s Dark Successor:

Dark and 1899 listener Baran Bo Odar gave a big talk time limit Report on the series on The challenges This technique:

It is literally a new way of filmmaking. We spoke to the team behind the Mandalayukta, which also included the cameraman [Barry Baz Idoine]To understand better technology. This was obviously a challenge for any department, but we love the challenges so we wanted to try for this series.

Jantaji Fries, Odar’s partner and producer, states that the The use of technology has increased a lot especially in times of epidemics. is:

We originally planned to visit Spain, Poland, Scotland and all kinds of places. soon [nach Beginn der Pandemie] We knew that this could not be possible in the new future and we have fully embraced the idea of ​​bringing Europe before us.

Here you can see the use of technology for Mandalion:

Baran Bo Odar has deadline again Complex turning process Regarding the Dark Successor, in which the post-production is initially placed on principle and lots of pictures of important locations are pre-made and then scanned for conversion:

This is not a projection, you do not take a photo of the 360-degree landscape and project it on the LED walls, because you will drive with the camera and the projection will be 2D. about this, Scan scenarios and convert them to 3D modelsSo that you can actually walk through it. When I move the camera towards the wall, the landscape moves with us. It is about creating a 3D world in the camera that can move and change with you.

You literally take post-production and turn it into pre-production. Everything has to be decided in advance, it has to be made, made so that everything can be recorded in the camera. Ideally, you do not use a green screen. I hate green screen, you need so much imagination and therefore the actors. Although this is a big benefit [der Ort] Is already on set. And then you already have everything with you in processing.

Even if due to the aspect of virtual reality, the technology has to be designed very elaborately, it is likely to grow against Compared to old-fashioned green screen drag up. Mandalorian laid the foundation stone and 1899 would be the next ambitious project giving an idea of ​​what the future of film and series production could be.

What is your opinion on the new digital technology as a revolution in the film and series business?