Star Wars: The Last Jedi

(2017)

Teaming up with ILM in Vancouver, Hybride skillfully crafted 248 visual effect shots for several different sequences in the film. This latest instalment marks Hybride's 3rd incursion into the Star Wars universe, and 12th collaboration with ILM. It also represents the studio's most important contribution to the franchise thus far, and an extremely varied workload in terms of types of effects produced for the show. 

Having taken her first steps into a larger world in Star Wars: The Force Awakens, Rey continues her epic journey with Finn, Poe and Luke Skywalker in the next chapter of the saga. As we return back to oceanic Planet Ahch-To, we find Rey training with her light saber on a high mountain ledge.

Star Wars: The Last Jedi
Star Wars: The Last Jedi

Hybride created CG environments for the scene, including the islands seen in the background, which needed to match the look of the islands seen at the end of The Force Awakens. The main challenge in this sequence lied however, in replacing the wooden stick used by the actress on set with a light saber, which required meticulous tracking and matchmoving by Hybride's tracking team. Hybride FX artists also produced particle effects when Rey slices through a rock and it crumbles into pieces and tumbles down into the water.

 

Sharing look assets with ILM, the studio generated photoreal VFX for a nighttime fight scene between Rey and Luke Skywalker in the rain. Hybride's FX artists created close up and backdrop rain effects, 3D CG environments, lightning bolts and storm clouds.

 

Hybride's work on The Last Jedi also includes the creation of impressive 3D CG backgrounds, massive set extensions, and motion graphics for most of the scenes inside the Mega Destroyer. The studio designed and produced completely CG environments to replace the initial set and populated them with CG soldiers and Storm Trooper crowds.

The Hybride team also animated BB-9E, BB-8's evil twin, produced holograms and modified the robot's reflective exterior - replacing green screens and set equipment with the appropriate lighting and reflections. The studio also created impressive background extensions for the Flux Capacitor shots, in addition to creating the Flux Capacitor itself. Additionally, the studio replaced and corrected reflections on Captain Phasma's armor, which required flawless tracking and matchmoving work from Hybride's artists.

 

BB-9E
BB-9E

Other VFX work by Hybride also includes the design and creation of numerous holograms, seen throughout the film - including The First Order Tie Fighter and the Mega Destroyer - replacing green screens in windows with hyperspace effects, star filled skies and laser effects reflections. The studio also produced CG numerous characters and impressive holograms for several different shots - including Benecio Del Toro's characters' holographic used vehicle catalog. 

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LAYOUT / TRACKING

Steve Pelchat, LEAD

Alexandre Alin

Alexandre Corbin

Alain Lacroix

Samuel Loriault-Goulet

Frédéric Medioni

Benoit Morin

TEXTURE & LIGHTING

Maryse Bouchard, LEAD

Christophe Damiano, LEAD

Yanick Gaudreau, LEAD

Mélissa Almeida

Marie-Claude Aubry

Michaël Bentitou

Julien Chabot

Steve Fraser

Frédérick Gaudreau

Vassilios Lanaris

Nicolas Leroy

Christian Ménard

Valérie Villeneuve

Alexandre Tessier

FX ANIMATORS

Richard Clément-Tam, LEAD

Glenn Curry

Julien Dubusset

Frédéric Fortin

Jean-François Gallant

Pascal Lortie Langlois

Gabriel Martin

Dang Vy Nguyen

TECHNICAL DIRECTORS

Patrick Piché, LEAD

Michel Bergeron

Mathieu Leclaire

MODELERS

Marco Tremblay, LEAD

Miguel Bérubé Ouellet

Annabelle Chevrier

Robert De La Cruz

Mathieu Lalonde

David Roberge

Vikramjit Sorensangbam

ANIMATORS

Édouard Buttiero

Steve Cady

Marc Aubry

Josef Sy

CHARACTER RIGGING

François Chancrin, LEAD

Stéphane Jean-Mary

PRESIDENT AND HEAD OF OPERATIONS

Pierre Raymond

VISUAL EFFECTS FINANCIAL CONTROLLER

Michel Murdock

VISUAL EFFECTS EXECUTIVE PRODUCER

Thierry Delattre

VISUAL EFFECTS SUPERVISORS

Joseph Kasparian

François Lambert

COMPUTER GRAPHICS SUPERVISORS

Mathieu Boucher

Philippe Théroux

Émmanuel Pelletier

COMPOSITING SUPERVISORS

Olivier Beaulieu

Michel Barrière

Benoit Legros

CREATIVE SUPERVISOR

Pierre Blain

VISUAL EFFECT PRODUCERS

Louise Bertrand

Yannick Wilisky

LINE PRODUCER

Richard Martin

VISUAL EFFECT COORDINATORS

Joannie Croteau

Catherine Lecavalier

Martine Losier

Karina Mariano

RESSOURCE COORDINATOR

Sylvain Rioux

TECHNICAL SUPPORT

Jason Bohbot

Félix Clément

Mélanie Cotton

Luc Desmarais

Stéphan Gervais

Olivier Painchaud

COMMUNICATIONS

Sylvie Talbot

Anne Tremblay

ADMINISTRATION

Caroline Bélisle

Dolorès Tardif

SEQUENCE LEAD DIGITAL COMPOSITORS

Olivier Gravel

Maxime Lemieux

Samuel Lepage-Bédard

DIGITAL COMPOSITORS

Mathieu Boudreau

Éloi Brunelle

Matthieu Châtelier

Gabriel Couture-Bojanowski

Ashih Dewan

Maxime Ferland

Mathieu Girard

Véronique Guay

Nadine Homier

Bruno-Pierre Jobin

Xavier Larocque

Martin Larrivée

François Leduc

Elsa Lemire

Louis-Alexandre Lord

Jocelyn Maher

Belly Mingmuong

Alice Pépujol

Sébastien Rioux

Cynthia Rodriguez

Mauricio Salas

Paul Saint-Hilaire

Katy Savoie

Guillaume St-Aubin

Julie Therrien

Véronique Tremblay

Raphaël Vallé

Jean-Frédéric Veilleux

MOTION GRAPHICS

Geoffroy Lauzon

PAINT & ROTO

Léa Vuillemin, LEAD

James Daniel Haines

Justin Hébert

Mélissa Laframboise Maillé

PRODUCTION ASSISTANTS

Jeff Blouin

Erika Normandin

Marie-Ève St-Amour

Christophe Trudel