शैडोइंग अभ्यास: Adam Savage Behind the Scenes of Star Wars: The Mandalorian and Grogu! - वीडियो के साथ अंग्रेजी बोलना सीखें

Sir?

Hello sir.

How are you?

Very good.

Pleasure.

Really good to see you.

Don't shake me too hard.

What do you got there?

This is something Dave Igler made on our sound mix.

No way.

What?

Isn't that cool?

Dude.

Great to see you man.

Thanks for coming by.

Absolutely.

The Mandalorian and Grogu marks the return of Star Wars to the big screen.

The culmination of a journey that began when we met these now iconic characters who pushed the boundaries of Star Wars storytelling.

I just had visited the production, where director Jon Favreau walked me through the practical sets they built,

housed within Quonset Huts, and in fact the very same Quonset Huts built during the mid-century aviation

and hot rod boom that inspired George Lucas's original vision.

It's on these sets and the production archives that Star Wars is at its most tangible, where I can see and touch and be immersed in the practical spaceships

and droids and creatures and props born of Jon Favreau and Dave Filoni's expansion of the Star Wars universe.

You must be so excited to finally show the world your baby.

I am.

I'm pretty excited about it.

This area is known as Thunder Alley.

In the hot rodding days, these were all like Traco Motors.

James Garner had his Corvette shop here.

So here in this neighborhood, originally it was Howard Hughes built aircraft here and

filmed the iron man at what's now google headquarters this was

part of the big his big uh air airfield holy cow

i didn't realize this was many years ago then the hot rodders came in took them over

and these became machine shops

and this is where they built a lot of the bolt-on parts oh man

and then later tech came through so it was sort of silicon beach yeah

but these quadrate huts are our old originals and we've done motion capture in here.

One of the structures is our model shop.

We filmed Oswald in these, using these as sort of like mini sound stages.

And we filmed Star Wars here.

And so I'll bring you over across to where we filmed it.

Oh, let's see.

All right.

Inside here is where we actually filmed Adelphi base for the series.

No way and for the film

so you didn't just reassemble the set here this is where you we kept it standing these are just signs

that we had this is actually the food pod where marty scorsese's character holy cow works

so if you go in there actually amazing oh my gosh

so it's a little uh gondolph in uh in the shire i love this i love

that you built a practical set yes we did we were able

because it's a film we were able to have the time to build a lot of practical on the show

you know we had to turn around less than a year yeah

so we innovated there was there was new new gpus uh nvidia

that everybody knows nvidia now

but at the time they were just a gaming video card

company uh those their new cards allowed us to have a refresh rate

that allowed us to do 24 frames our volume the video

walls were driven by basically vr tech gaming tech incredible and so So we use that to get in-camera final pixel effects.

Now we use some of the same technology more for interactive light, but we had the opportunity to build full sets

and just do things we never had the opportunity to do because we had several years.

Yeah, yeah, yeah.

Not several months.

Right.

Anyway, so yeah, so this was one of our builds.

It's incredible how much practical you're able to do.

So as we go through here, this was our set from the show and from the film.

Oh, wow.

So in keeping with what George Lucas did, he used a lot of, kitbashed a lot of World War II techs and props.

And you know from the Greeblies and when you were making models that you'd pull pieces from the old model kits.

Yeah, the old Tamiya World War II train cars and rail guns.

Yeah.

For the weapons, for the spaceships, for everything.

And I know you probably recognize.

Oh, yeah, the IG, the Derwent engines.

Right, that's a Rolls Royce engine yeah and and before

that it was in the bar yes on tatooine

so we've we've we've got amanda serino and and and uh

and andrew jones are you know in our art department they've

been sourcing this stuff as they did on the we've really tried to capture the spirit of the originals uh

because that's what i grew up with well

and then using the quonset hut you're kit bashing the actual exactly the whole world exactly amazing

so it doesn't take much you know much like in the

original film you just have a few art pieces in there

and then you tie in and then you change them to pill windows

uh but see yeah like you can't even tell where it where it starts

and stops and

so this is the first star wars production the mandalorian to ever film in los angeles i love

that you've got the imperial droid sitting on the end

so you want to go through it do you recognize what

this is up here the round thing wait a second wait

a second it's the side of the something it's a hatch yeah it's actually a top hatch, I think, or the back hatch.

It's on a TIE fighter.

That's it.

Yes.

And we use that for when Moff Gideon's TIE fighter.

So we've been doing this for whatever, 18 years.

Yeah, yeah, yeah.

So we actually have our own little mini archive of stuff.

So this is a bit of a deep cut.

100

This is from...

101

We built this from a set piece from Tashi Station that was never used in the actual films, right?

102

Amazing.

103

But they filmed back in the 70s.

104

And so this is a video game from Star Wars.

105

People who know Star Wars, the more detail you put in, the more they, you know what I mean?

106

Yeah.

107

And if you don't know it, it doesn't matter.

108

But if you do, there's a lot of the whole, our whole crew is always on the hunt for how do we put more stuff in the margins

109

and how do you add detail.

110

You must walk in here in the morning and be like, I'm fully in this world.

111

Well, we kept it up.

112

Yeah.

113

You know, somebody like Adam Savage might want to come by one day.

114

But we have this as a back, like, let's just keep it up as a backdrop.

115

It really is like playing Star Wars.

116

They always joke, Dave Filoni and I are like two kids.

117

Totally.

118

And it's just a bigger playset.

119

That's why you get the big playset, because you guys make really great toys out of it.

120

Thank you.

121

Well, actually, you want to see we have more toys over here.

122

okay so here's sort of a little front of house

123

so we had a full lot of stages to to build things in

124

and then we would use the tech in a different way

125

because we would you know sometimes be on real location sometimes film at real locations

126

and tie into ones that we build amazing

127

but we weren't relying on the volume in the same way to actually replace the sets live

128

but it created reflections and interactive light so it wasn't just blue screen right

129

and so we could build pretty big sets

130

that we would you know anything we interact with we build

131

and if we extend up we didn't use the traditional technique of just digital extensions

132

and then just fixing we wanted to make sure

133

that the the main characters yeah we're getting uh optimal photography practical photography amazing

134

and so that means providing proper reflections so you're not painting things out

135

So we were we found that the technology

136

that we developed for the show could be leveraged

137

and John Noll actually built I don't know

138

when you were touring with him

139

but he actually built a mini volume I saw them for the miniatures no

140

that for the for the Razorcrest from breaking through the planet

141

we saw them put the mini volume on it was amazing

142

I know on the prequels it was a big challenge with

143

the reflective the reflective ships yeah the nablu ships right yeah uh

144

that you were fighting reflections and totally sort of leaned into

145

that as as we did with his armor here's Here's a practical location we built downtown, also Los Angeles, has sort of a neon noir look.

146

And there it is, you're getting a sense of it.

147

But then at the end, we actually plugged panels in for extension so we had live...

148

So you had deep...

149

Deep, deep and also reflection so we could go wet.

150

Amazing.

151

Neon noir look is all about reflections and lights.

152

This is your Ridleyville.

153

This is your Blade Runner.

154

That's amazing.

155

And we watched all those films together.

156

Yeah.

157

And we actually used the Apple Vision Pro

158

because we were in John Noel was up north we were down here we'd screen together

159

and he would like screen Rogue One

160

and you'd see his avatar walking around talking

161

so we we were able to use tech to bring people

162

together that's amazing tech to to help leverage practical right

163

and just create a different combination

164

that one might not have had before I mean I've been following your guys stuff

165

so closely it's hard for me to remember

166

that this is also pushing the limits of what people can

167

do would film right now like you are way out there

168

at the at the leading edge of getting all this tech together

169

but as you'll see it's super low tech at its core uh

170

so it's it's a it's a mix yeah and that that

171

that mix is very specific to what george did with star star wars

172

because he did really really it was super high tech bleeding edge tech the dykstra flex at the time yeah

173

but you also had really a lived-in world and old props and very tactile.

174

So that's what we together as fans try to figure out, is this Star Wars or not?

175

This is actually a blow-up of the Doug Chang original artwork his art department did.

176

I'm not sure if he was the artist on this one.

177

I think he was.

178

But this is based on a doodle that, when I first showed the script to Filoni, he doodled this from the first episode,

179

and that became kind of the final frame of the pilot of the first episode.

180

Oh, so now we're getting into a different world.

181

There's a dark saber, not in the film, but from the show.

182

Yeah, yeah.

183

We have a few of them.

184

One of them I have.

185

I'm so glad for that.

186

That's as it should be.

187

Here's a little Rada as a baby.

188

That's something that I painted on the weekends.

189

Dude, he's beautiful.

190

Yeah, thank you.

191

Oh, that's great.

192

So that's fun.

193

He's great until you see this.

194

This is the actual stop motion models from Tippett.

195

This is, oh yeah.

196

So they're next level.

197

Oh.

198

And this was a very ambitious stop motion sequence.

199

So because we had the time to plan and we had people like John Knoll coordinating all of it,

200

we're able to engage with Tippett and have them do a really, and they're actually, you saw Mando scales about here.

201

So these are giant droids.

202

Here we go.

203

Here's the.

204

Oh!

205

This is, oh my God.

206

This is, ah, wow.

207

Everything is our history this is this is everything we've done uh on on disney plus and in the film john

208

it's

209

so thrilling to see it in one room you it doesn't

210

overwhelm you a little bit to it it's it's exciting it is overwhelming

211

that because yes you're looking a lot of star wars

212

but also this has been my life for a decade

213

or close to a decade yeah and and all these um people

214

that we get to work with that are you know

215

and this is a collection of work of you know this is stuff

216

that that that we were able to build for the show it's costumes

217

that were built by by legacy iron head yeah it's even

218

like those those little bird cages up there that's in the set each of those are little animatronics

219

that were done by interns at legacy

220

that they gave them an opportunity to do all the little

221

creatures in the shop this is like the business end of a million decisions you've been making for a decade

222

and i love that it's real too yeah it's you know it's it's um there i don't know

223

that people really understand how much real stuff we used because

224

so there's a lot of digital work and really good digital work

225

but there's a lot of you know ig was a rod puppet

226

and a lot of these things started off as puppets

227

that were built for reference right

228

that everybody over delivered like uh grogu was just supposed to be reference or stand in for for long shots

229

but then they kept building more servos into it you know

230

because yeah and you guys ended up limiting the cg model to the confines of the practical and

231

because it's star wars i think people are more accepting of

232

the wonkiness of a of a puppet as long as it has some life to it

233

and personality and I know R2-D2 was my favorite character growing up

234

and that was like you know it wasn't a traditionally cute character

235

but I felt so connected to that character as a kid

236

and and and so here's our here's one of the McKinney this isn't one of the real puppets

237

but this is I think a maquette of him yeah oh

238

his sigils much bigger than I thought it was the other

239

the plate you should have come here did you build one for your guy I haven't yet Okay, good.

240

Well, it's a good thing.

241

Take reference.

242

And then this is the Legacy built this in.

243

This is the Enzelian ship.

244

The Enzelian ship, right.

245

Oh, my gosh.

246

There's actually an interior over here.

247

And if you look all the way over here, here's the inside.

248

It's a bit of a Tarsus set.

249

Oh, wow.

250

So they had removable panels so they could puppet him through it?

251

Yeah, and underneath, yeah.

252

So we learned a lot about puppeting.

253

And Dave Filoni directed most of the puppet unit.

254

Thinking it was going to be, oh, it'll be easy little thing to do.

255

It was the hardest part of the show.

256

And then if you have Anzelans, you have four Anzelans going.

257

Four.

258

And Baby Yoda and Grogu.

259

That's a lot of passes and then motion control.

260

Oh, so you're doing separate passes for each puppet?

261

Sometimes.

262

Yeah, yeah.

263

It depends on what they were doing.

264

Sure.

265

But often, that was the best way.

266

Just because all the body's underneath working the rods, and you get more control of performance.

267

So I remember reading about how concerned George was right up until filming with Yoda.

268

Like, is this going to work? is this character going to hold?

269

I'm curious if when you're getting ready to unveil Grogu, does he give you any words of advice or encouragement about taking that character and making them so central?

270

Not at that point.

271

We didn't know to what extent we'd be using him.

272

And we, through the course of filming, started to really see what the practical version was doing.

273

Again, we thought it was going to be mostly CG with just a maquette that had, they said, let's just build a little bit of movement in it, just so in case it's in the background,

274

For a television show, you're not paying for a CG shot.

275

If it's just in the background, just have it move around.

276

But the people at Legacy just over-delivered, over-delivered.

277

Then facial.

278

Then movement.

279

Then the rods.

280

And then you start to look at the thing.

281

And it was actually Werner Herzog who was on the set.

282

Because we would shoot for a lighting reference.

283

And then we'd say, okay, get it out.

284

Let's do the clean plate.

285

And he was the one who called us cowards for doing a clean plate.

286

He says, this thing's beautiful.

287

It's magnificent.

288

Why could you?

289

And Deb Chow was directing at the time.

290

And she was like, Werner Herzog, who's, you know.

291

Yeah, yeah.

292

And so we started to trust it more.

293

And then we knew once that we'd have the first reveal, because thanks to Lucasfilm and Disney, they kept it a secret.

294

It was not in any of the merch or the marketing material.

295

And so to have a surprise is rare now, because everybody knows everything ahead of time.

296

And so that reveal was really, we knew it.

297

And then it created, I think people wanted to see the show

298

when it came out so

299

that they wouldn't see on social on social media what had happened they wanted to be part of

300

that discovery and then baby yoda became a international before the show was even available in markets something about

301

that image and that the innocence of that character and the cuteness

302

and the personality people got and connected with and so

303

he's part of our thing uh but he's also part of the world

304

and one of the interesting parts about about making a film with him as a star is you can't assume, if people know him, they might not know everything about the show.

305

So it's not unlike season one where there's gonna be new people coming to see this.

306

Of course, of course, yeah.

307

But your core audience- They don't have any shorthand that they- They don't.

308

But the same thing happened season one.

309

Like there was, we assumed that nobody knew anything about Star Wars.

310

There's new characters.

311

Here, as long as you know that he's a bounty hunter and he's got his little apprentice slash adopted child.

312

And what that dynamic is, you're good.

313

But you also have to make it so that people who've been like us with Star Wars since the beginning, you have to give them a lot.

314

And you have to make it work for both audiences.

315

That's a trick.

316

That sounds like a really tricky needle to thread.

317

But I think we did it the first season.

318

You know what I mean?

319

So I think that we kind of knew the keep the story clear and clean.

320

Know who the good guys and bad guys are. but then

321

when you get to the supporting cast characters the background the

322

details yeah the implications as it speaks to the larger storyline

323

that there are clues in there as Dave Filoni is getting ready to do Ahsoka season two

324

that speaks to the bigger picture and the films to come

325

that this fits into that timeline

326

but you want this to be a standalone story where somebody

327

has it's been close to seven years there's there are people

328

who aren't old enough to see Star Wars in the movie theater last time right

329

and i want to make them feel how i felt

330

when i saw it for the first time

331

and have them fall in love with this and

332

and bring them in you know i love

333

that you talk about uh all the artisans working on all these things going above

334

and beyond and over delivering and i want to tell you

335

when i worked at ilm

336

that was definitely the ethos was like you finished the back of your set to be really nice

337

because it's us it's like it's like a michelin star kitchen yes you want to make sure

338

that you know even if the even if the customer doesn't know everything you know

339

that you put everything into it and

340

that you you were you did the best you could

341

and then other people who do it too are paying attention to what you're doing yes

342

and they appreciate it as the director you're trusting so much

343

that whole team but on this i had

344

that i had i was coming into this with uh i

345

knew the characters i knew the world the audience knew who we are

346

and even though there's you know hopefully new people being introduced

347

to it we understand how it plays we understand the genre

348

and when we push to go from you know we started off with

349

samurai western influences yeah well now we we were able to get into the other influences george had

350

which was like flash gordon like space opera big yeah you know swashbuckling adventure and so

351

we had other golf clubs in our bag than we would have had.

352

We had the Big Bertha, so we could do things of a scale and a scope that we couldn't do before.

353

But we were building on something we already knew with craftspeople that were at the top of their game.

354

So I never felt this experience going into a film where we already felt like we did our reps together.

355

And then finally when we hit the set, it was, okay, what can we do from here?

356

So I have a story before we wrap which is that

357

when I got on Star Wars on episode one It was just the last eight months of production

358

So there was a warehouse over there at Kerner where all the models from episode one work Yes, and I was just there for a few months

359

and I was new So I was you know telling people what I could do

360

and I mentioned that I'd made a whip

361

and my supervisor Brian Gernand was like bringing your whip tomorrow I want to see it

362

and I brought it in he's like I want to see

363

you crack it I'm like well this room isn't big enough

364

So he took me to the warehouse with all the props He's like, stand on the table and crack it.

365

So I'm standing on this table with, you know, $5 million of Star Wars props and cracking this whip that sounds like a gunshot, realizing I could end my whole career right here.

366

That's right.

367

You could have taken a taunta on that.

368

Exactly.

369

That's hilarious.

370

But this is your version of the same.

371

Yeah.

372

It is cool to see.

373

You don't realize when you're doing it until you stand back

374

and look at all the things you realize you've been doing it for a long time with a lot of people.

375

you sort of realize how much of your life you've spent working on something.

376

So it's a little surreal, but it's fun.

377

But the best part is, again, to be able to share it with other people and show.

378

And I'm glad that you got to show everybody there because I'm proud of the work that everybody did.

379

And it's good that you at least get a glimpse of it.

380

Everything is a story here.

381

Everything does.

382

I'm glad we got to tell a few of them.

383

But yeah, feel free to share any of this with your with your with your audience

384

and maybe they know things I don't know they're gonna find some really interesting things

शैडोइंग तकनीक क्या है?

शैडोइंग (Shadowing) एक विज्ञान-समर्थित भाषा सीखने की तकनीक है जो मूल रूप से पेशेवर दुभाषिया प्रशिक्षण के लिए विकसित की गई थी। विधि सरल लेकिन शक्तिशाली है: आप मूल अंग्रेज़ी ऑडियो सुनते हैं और तुरंत इसे ज़ोर से दोहराते हैं — जैसे वक्ता की छाया 1-2 सेकंड की देरी से। शोध से पता चलता है कि यह उच्चारण सटीकता, स्वर, लय, जुड़ी हुई ध्वनियाँ, सुनने की समझ और बोलने की प्रवाहशीलता में काफ़ी सुधार करता है।

शैडोइंग अभ्यास: Adam Savage Behind the Scenes of Star Wars: The Mandalorian and Grogu! - वीडियो के साथ अंग्रेजी बोलना सीखें

परिदृश्य

उपयोगी वाक्यांश और संयोजन

आपकी शैडोइंग चुनौती

शैडोइंग तकनीक क्या है?