MASSIVE ENTERTAINMENT STRETCHES THE GALAXY FOR STAR WARS OUTLAWS – VFX Voice<\/title><br \/>\n\t<meta name=\"description\" content=\"Massive Entertainment utilized VFX to create an immersive event.\"\/>\n\t<link rel=\"canonical\" href=\"https:\/\/vfxvoice.com\/massive-entertainment-stretches-the-galaxy-for-star-wars-outlaws\/\"\/>\n\t<meta property=\"og:locale\" content=\"en_US\"\/><br \/>\n\t<meta property=\"og:type\" content=\"article\"\/><br \/>\n\t<meta property=\"og:title\" content=\"MASSIVE ENTERTAINMENT STRETCHES THE GALAXY FOR STAR WARS OUTLAWS\"\/><br \/>\n\t<meta property=\"og:description\" content=\"Massive Entertainment utilized VFX to create an immersive event.\"\/><br \/>\n\t<meta property=\"og:url\" content=\"https:\/\/vfxvoice.com\/massive-entertainment-stretches-the-galaxy-for-star-wars-outlaws\/\"\/><br \/>\n\t<meta property=\"og:site_name\" content=\"VFX Voice\"\/><br \/>\n\t<meta property=\"article:publisher\" 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class=\"oi_head_holder\">\n<div class=\"oi_smalldev_holder hidden-lg hidden-md\">\n<div class=\"textwidget custom-html-widget\">\n<p style=\"line-height: 1.1;\"><i><strong>VFX Voice<\/strong><\/i><\/p>\n<p style=\"line-height: 1.1;\"><small>The award-winning definitive authority on all things visual effects in the world of film, TV, gaming, virtual reality, commercials, theme parks, and other new media.<\/small><\/p>\n<p style=\"line-height: 1.1;\"><small><small><i>Winner of three prestigious Folio Awards for excellence in publishing.<\/i><\/small><\/small><\/p>\n<\/div><\/div>\n<div class=\"oi_logo_place\">\n<div class=\"oi_logo\">\n<div class=\"oi_logo_inner_holder\">\n <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/vfxvoice.com\"><\/a><\/p><\/div><\/div><\/div>\n<div class=\"oi_categories_place\">\n<div class=\"textwidget custom-html-widget\">\n<p style=\"line-height: 1.1;\"><i><strong>VFX Voice<\/strong><\/i><\/p>\n<p style=\"line-height: 1.1;\"><small>The award-winning definitive authority on all things visual effects in the world of film, TV, gaming, virtual reality, commercials, theme parks, and other new media.<\/small><\/p>\n<p style=\"line-height: 1.1;\"><small><small><i>Winner of three prestigious Folio Awards for excellence in publishing.<\/i><\/small><\/small><\/p>\n<\/div>\n<p> <\/p>\n<p> \n <\/div>\n<\/div>\n<p> <br \/>\n <br \/>\n <br \/>\n <\/p>\n<div data-sticky_parent=\"\" class=\"oi_single_post post-13146768 post type-post status-publish format-standard has-post-thumbnail hentry category-video-games tag-star-wars tag-video-games issue-fall-2025\" id=\"post-13146768\">\n<div class=\"oi_single_post_standard\">\n<div class=\"oi_single_post_title\">\n<p> <br \/>\n <strong>October 01 <span class=\"oi_year\">2025<\/span><\/strong> <br \/>\n  \n <\/p>\n<div class=\"oi_single_post_conent\">\n<div class=\"wpb-content-wrapper\">\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-12\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<p>Images courtesy of Ubisoft Entertainment and Lucasfilm Ltd.<\/p>\n<\/p><\/div><\/div>\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146780\" aria-describedby=\"caption-attachment-13146780\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img fetchpriority=\"high\" decoding=\"async\" class=\"size-medium wp-image-13146780\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-3-SWO_Screenshots_CapturedInEngine_Akiva_Speeder_FINAL_ULTRA_WIDE-1-1024x439.jpg\" alt=\"To give the imagery a cinematic feel, inspiration was taken from the Ultra Panavision 70 camera used to capture the footage for Rogue One: A Star Wars Story.\" width=\"1024\" height=\"439\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-3-SWO_Screenshots_CapturedInEngine_Akiva_Speeder_FINAL_ULTRA_WIDE-1-1024x439.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-3-SWO_Screenshots_CapturedInEngine_Akiva_Speeder_FINAL_ULTRA_WIDE-1-768x329.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-3-SWO_Screenshots_CapturedInEngine_Akiva_Speeder_FINAL_ULTRA_WIDE-1.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146780\" class=\"wp-caption-text\">To give the imagery a cinematic feel, inspiration was taken from the Ultra Panavision 70 camera used to capture the footage for <em>Rogue One: A Star Wars Story.<\/em><\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"wpb_column vc_column_container vc_col-sm-12\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<p>Considered part of the revival of Lucasfilm Games is the first <em>Star Wars <\/em>open world video game where small-time thief Kay Vess becomes entangled with the Pyke Syndicate, Crimson Dawn, Ashiga Clan and Hutt Cartel. Set between <em>The Empire Strikes Back <\/em>and <em>Return of the Jedi<\/em>, <em>Star Wars Outlaws <\/em>was published by Ubisoft and developed by Massive Entertainment, which is responsible for the real-time tactical games <em>Ground Control <\/em>and <em>World in Conflict<\/em>. The action-adventure revisits familiar faces and places while introducing new planets and characters that expand the scope and understanding of the ruthless criminal underworld. The end result went on to receive the 2025 VES Award for Outstanding Visual Effects in a Real-Time Project, highlighting how visual effects have become an integral part of providing players with an immersive experience.<\/p>\n<\/p><\/div><\/div>\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<p>Even though the story is set in the <em>Star Wars <\/em>universe, an effort was made not to be self-referential when devising the shape language for the game. \u201cIt\u2019s not just to reiterate all of the things that you have seen from <em>Star Wars, <\/em>but to bring new things into <em>Star Wars<\/em>,\u201d notes Benedikt Podlesnigg, Art & World Director at Massive Entertainment. \u201cOne thing that we tried to avoid doing was only looking at <em>Star Wars <\/em>reference to create new <em>Star Wars <\/em>because, in the end, you will never create something new. We looked at what inspired George Lucas, Ralph McQuarrie and Doug Chiang when they created new things. What are they looking at? What is the cultural influence? Using the example of Toshara, we examined what if, instead of making a game, we made a movie. Where would we go and film it? Then, we explored that location and drew inspiration from it. The winds shaped Toshara, so we brought aerodynamics into it, which answered many questions for us. It influenced the shapes and patterns.\u201d<\/p>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-12\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146777\" aria-describedby=\"caption-attachment-13146777\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img decoding=\"async\" class=\"size-medium wp-image-13146777\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-23-SWO_APiratesFortune_Screenshot_KhepiSpace-1-1024x576.jpg\" alt=\"The Trailblazer flies through the Khepi system.\" width=\"1024\" height=\"576\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-23-SWO_APiratesFortune_Screenshot_KhepiSpace-1-1024x576.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-23-SWO_APiratesFortune_Screenshot_KhepiSpace-1-768x432.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-23-SWO_APiratesFortune_Screenshot_KhepiSpace-1.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146777\" class=\"wp-caption-text\">The <em>Trailblazer<\/em> flies through the Khepi system.<\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"wpb_column vc_column_container vc_col-sm-12\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<p>The wind needed to be simulated on Toshara, which raised the complexity. \u201cNormally for a game, you would have one wind vector, which is going to be the direction and strength pointing in a direction,\u201d remarks Stephen Hawes, Technical Art Director at Massive Entertainment. \u201cThe biggest challenge was that we changed the wind system in Snowdrop [the in-house game engine], so it\u2019s more the Beaufort system for wind strength. When the art director says, \u2018I want strong wind,\u2019 you give him strong wind, and everything is flapping around. \u2018That\u2019s too strong. Let\u2019s pull it back.\u2019 But there\u2019s no word to describe or number to put on this. We literally made a weather vane prop that would spin based on the wind, and it would give a read on how windy it was. We had all of the wind settings with a written English term like \u2018still\u2019 for no wind and \u2018hurricane\u2019 for a violent storm. On the cantina, you have little slats on the windows that move based on wind strength. If the wind strength is too high, they will move too much. It was important that we got that value nailed down with Ben, then tweaked things, like more movement in the grass or less movement on the clouds. That\u2019s an easier distinction to make to get the whole world working. We added a whole different wind track for how the grass moves.\u201d<\/p>\n<\/p><\/div><\/div>\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<p>Ray tracing was an indispensable tool for ensuring lighting continuity. \u201cWe used ray tracing to give us quite a bit back in terms of real-time lighting updates,\u201d Hawes explains. \u201cThere are many things you can do when the lighting isn\u2019t baked. This allowed us to create interesting set pieces. One of the examples we used as part of our [VES Awards] nomination reel was the collapsing tunnel. You\u2019re escaping a ship that is landlocked, falling apart, and the corridor is slipping vertically while you\u2019re in it. You\u2019re sliding down through it as explosions are going off. There are many moving parts that we can do far more with now to keep the lighting all consistent.\u201d A new environmental experience for Massive Entertainment was going beyond the ozone layer into outer space. \u201cFor Snowdrop, one of the big new improvements was how we handled space content, especially the nebulae that we have on Kijimi or Toshara, which is one of the space regions we created that has huge volumetric clouds where you have more or less density,\u201d explains Baptiste Erades, Senior VFX Artist at Massive Entertainment. \u201cThis was not something that the engine was meant to be putting the player in, such a big mass of overdraw. We are usually trying not to put the player in this perspective. However, since we are in space, and there are many examples in <em>Star Wars <\/em>where they have this situation, like in the Kessel Run, we had to create a whole new technology that improved our volumetric system so it can also be used for clouds and such things.\u201d<\/p>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-12\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146776\" aria-describedby=\"caption-attachment-13146776\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img decoding=\"async\" class=\"size-medium wp-image-13146776\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-22-SWO_Screenshots_CapturedInEngine_Akiva_Action_WIDE-1-1024x576.jpg\" alt=\"Laser bolts had to appear not too saturated or luminous, no matter the time of day or environment.\" width=\"1024\" height=\"576\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-22-SWO_Screenshots_CapturedInEngine_Akiva_Action_WIDE-1-1024x576.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-22-SWO_Screenshots_CapturedInEngine_Akiva_Action_WIDE-1-768x432.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-22-SWO_Screenshots_CapturedInEngine_Akiva_Action_WIDE-1.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146776\" class=\"wp-caption-text\">Laser bolts had to appear not too saturated or luminous, no matter the time of day or environment.<\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-12\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146771\" aria-describedby=\"caption-attachment-13146771\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13146771\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-10-Nix_Speakeasy-1-1024x576.jpg\" alt=\"The Nix mode allows the character to perform various tasks, such as open doors, distract guards or pick pockets.\" width=\"1024\" height=\"576\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-10-Nix_Speakeasy-1-1024x576.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-10-Nix_Speakeasy-1-768x432.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-10-Nix_Speakeasy-1.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146771\" class=\"wp-caption-text\">The Nix mode allows the character to perform various tasks, such as open doors, distract guards or pick pockets.<\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-6\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146774\" aria-describedby=\"caption-attachment-13146774\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13146774\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-14-Cryo_room-1-1024x576.jpg\" alt=\"Ray tracing was an important part of being able to light the cryogenic room properly and consistently.\" width=\"1024\" height=\"576\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-14-Cryo_room-1-1024x576.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-14-Cryo_room-1-768x432.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-14-Cryo_room-1.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146774\" class=\"wp-caption-text\">Ray tracing was an important part of being able to light the cryogenic room properly and consistently.<\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"wpb_column vc_column_container vc_col-sm-6\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<p>Having to interact with the various environments are the iconic speeders. \u201cIt was a lot of fun, but still challenging because at some point when a speeder gets chased by other speeders, you start to have a lot of visual effects and elements reacting to them,\u201d Erades states. \u201cPerformance-wise, this was quite tricky. One of the things that was challenging, especially in the <em>Star Wars <\/em>universe, is that the speeder floats in the air, so you don\u2019t have any real feedback elements. You don\u2019t have any wind blowing, except for when they start moving. We had to find a way to make them feel real. Usually, in other games, you have the wheel turning fast and white smoke coming out. We had to try to drag some of the ground, depending on whether it was mud or dust, to come out, to make the speeder more anchored, even if it was actually flying. It was the same when you jumped. Depending on how your speeder lands, you will have some dirt spikes coming next to you to emphasize the heavy damage that you can take on top of this huge speed you have. We\u2019re trying to get all these elements in our scene.\u201d<\/p>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"wpb_column vc_column_container vc_col-sm-12\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<p>Research was conducted into the design techniques and camera choices that the various filmmakers had made for big-screen installments of the <em>Star Wars <\/em>franchise. \u201cOnce we had that narrative, we treated it as a movie set,\u201d reveals Bogdan Draghici, Realization Director at Massive Entertainment. \u201cWhen doing the mocap, we recorded all of the cameras, so the camera movements and feel come from cameras being operated by real camera operators. We realized that the imagery for this project would be challenging to achieve with our standard camera tools. We had discussions with Stephen [Hawes] and his department. They created this unique lens project that emulates certain types of cameras and lenses. In our case, the camera we were targeting was the same one used in <em>Rogue One: A Star Wars Story<\/em>. It was Ultra Panavision 70. It\u2019s an anamorphic camera, which comes with a specific set of artifacts and traits. We tried to go as cinematic as possible for each cinematic [shot], not only to support the story but to feel like a small movie.\u201d<\/p>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-12\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146770\" aria-describedby=\"caption-attachment-13146770\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13146770\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-9-ComicCon_Mirogana_01-1-1024x576.jpg\" alt=\" The wind system in Snowdrop was altered to honor the Beaufort system for wind strength.\" width=\"1024\" height=\"576\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-9-ComicCon_Mirogana_01-1-1024x576.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-9-ComicCon_Mirogana_01-1-768x432.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-9-ComicCon_Mirogana_01-1.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146770\" class=\"wp-caption-text\">The wind system in Snowdrop was altered to honor the Beaufort system for wind strength.<\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-6\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<p>Getting the correct visual aesthetic also meant taking a retro approach. \u201cWe looked at every reference for characters, clothing or technology from the era when the movie was made,\u201d Podlesnigg remarks. \u201cThere were 1960s and1970s technologies that we looked at for the <em>Trailblazer<\/em>. There are some muscle cars in there. We used a Swedish motorbike as a reference for our speeder. However, even for the characters, Kay Vess\u2019s haircut is inspired by the style seen in the movie. It\u2019s these kinds of references and all of these small things put together that make the aesthetic work. If you take one thing that is too modern or old, it doesn\u2019t work anymore.\u201d An important aspect of the world-building was being true to the setting being depicted. \u201cToshara is a moon with a solid Amberine core that has a crust on top of it that is slowly being stripped away by the wind,\u201d Podlesnigg states. \u201cEverything was created with that in mind. The wind direction, architecture, harnessing of wind for electricity, the choice of lenses you see in space, the nebula and the dust clouds revolve around this concept. Our world-building team has done a tremendous job hitting all of these small notes.\u201d<\/p>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"wpb_column vc_column_container vc_col-sm-6\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146781\" aria-describedby=\"caption-attachment-13146781\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13146781\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-4-MiroganaCity-1-1024x576.jpg\" alt=\"Much of the world-building was devoted to the arid moon environment of Toshara, with Mirogana City being the central hub of activity.\" width=\"1024\" height=\"576\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-4-MiroganaCity-1-1024x576.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-4-MiroganaCity-1-768x432.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-4-MiroganaCity-1.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146781\" class=\"wp-caption-text\">Much of the world-building was devoted to the arid moon environment of Toshara, with Mirogana City being the central hub of activity.<\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-12\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146772\" aria-describedby=\"caption-attachment-13146772\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-13146772 size-medium\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-12-HeroShot_ND5-1-1024x576.jpg\" alt=\"Modified BX Commando droid ND-5 serves as the co-pilot of the Trailblazer.BOTTOM: Kay Vess rappels down the \" width=\"1024\" height=\"576\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-12-HeroShot_ND5-1-1024x576.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-12-HeroShot_ND5-1-768x432.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-12-HeroShot_ND5-1.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146772\" class=\"wp-caption-text\">Modified BX Commando droid ND-5 serves as the co-pilot of the <em>Trailblazer<\/em>.<\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-6\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146773\" aria-describedby=\"caption-attachment-13146773\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13146773\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-13-SWO_Screenshots_CapturedInEngine_Toshara_Hook_Final_WIDE-1-1024x576.jpg\" alt=\"Kay Vess rappels down the side of a building in Toshara.\" width=\"1024\" height=\"576\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-13-SWO_Screenshots_CapturedInEngine_Toshara_Hook_Final_WIDE-1-1024x576.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-13-SWO_Screenshots_CapturedInEngine_Toshara_Hook_Final_WIDE-1-768x432.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-13-SWO_Screenshots_CapturedInEngine_Toshara_Hook_Final_WIDE-1.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146773\" class=\"wp-caption-text\">Kay Vess rappels down the side of a building in Toshara.<\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"wpb_column vc_column_container vc_col-sm-6\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<p>Cinematics have different aspects when it comes to complexity. \u201cWe have the Barsha standoff where the intensity of the emotions is quite high, and that is to be reflected in the performance,\u201d Draghici states. \u201cNot to mention, compared to film, all of these performances have to be translated to CGI puppets. How can we make this transfer to preserve as much of the actor\u2019s performance as possible? Then we have the Darth Vader scene. Because Sliro Barsha has such a big ego, he displays artifacts collected from conquered gangs and species in a glass case. I wanted to play with reflections on the glass. Sliro Barsha is admiring his collection, and then, in the glass reflection, you see the door opening and Darth Vader comes in. We had to do all the math behind where the character needs to stand, where he needs to look, what point on that glass he needs to look at, how the camera needs to move around the character to make sure that it\u2019s at the perfect moment for when the door opens and Darth Vader is revealed. And there\u2019s the complexity of seamless transitions and keeping the player immersed.\u201d<\/p>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-12\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146782\" aria-describedby=\"caption-attachment-13146782\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-13146782 size-medium\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-6-Jabba-1-1024x576.jpg\" alt=\"Among the familiar faces making an appearance is Jabba the Hutt.\" width=\"1024\" height=\"576\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-6-Jabba-1-1024x576.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-6-Jabba-1-768x432.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-6-Jabba-1.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146782\" class=\"wp-caption-text\">Among the familiar faces making an appearance is Jabba the Hutt.<\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-6\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<p>Devising a hologram system was not easy. \u201cIt sounds straightforward, but we had to answer interesting questions, like what if you look at a hologram from top down?\u201d Hawes states. \u201cI\u2019m proud of the results we got. Moreover, it helped with the narrative because if the script changed and this character was no longer on the ship but needed to be talking, how do we do that? The character can be added through a hologram, which allows for the scene to be placed back in. Keeping in mind the era you\u2019re in, the holograms change in terms of aesthetic. Giving the art director the tools to tweak and make the holograms look as they needed, while also ensuring they worked aesthetically, was a big challenge. In the end, the holograms became quite a strong element within the game.\u201d Blaster fire was another interactive light element. \u201cFor tracer bullets, you usually boost the intensity for daytime, otherwise you will not see it,\u201d Erades explains. \u201cYou have another intensity for night and maybe a third one for when you\u2019re inside a building. Our game is quite difficult because we have multiple planets with different times of day, so it\u2019s hard to know if it\u2019s nighttime or daytime, and you have space with a different sun that has various colors. It was challenging to keep a consistent look for the laser bolt that was not too saturated or luminous but still felt like a powerful effect in all situations without triggering the lens flare.\u201d<\/p>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"wpb_column vc_column_container vc_col-sm-6\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146775\" aria-describedby=\"caption-attachment-13146775\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13146775\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-17-SWO_UbiFW_outside_wreck_NoLogo-1-1024x576.jpg\" alt=\"Kay Vess and Nix come across an old ship wreckage site.\" width=\"1024\" height=\"576\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-17-SWO_UbiFW_outside_wreck_NoLogo-1-1024x576.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-17-SWO_UbiFW_outside_wreck_NoLogo-1-768x432.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-17-SWO_UbiFW_outside_wreck_NoLogo-1.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146775\" class=\"wp-caption-text\">Kay Vess and Nix come across an old ship wreckage site.<\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-12\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146783\" aria-describedby=\"caption-attachment-13146783\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13146783\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-7-JabbasPalace-1-1024x576.jpg\" alt=\"The first planet introduced in the Star Wars universe, Tatooine gets visited, with Jabba\u2019s Palace being a prominent setting.\" width=\"1024\" height=\"576\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-7-JabbasPalace-1-1024x576.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-7-JabbasPalace-1-768x432.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-7-JabbasPalace-1.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146783\" class=\"wp-caption-text\">The first planet introduced in the<em> Star Wars<\/em> universe, Tatooine gets visited, with Jabba\u2019s Palace being a prominent setting.<\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-6\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146778\" aria-describedby=\"caption-attachment-13146778\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13146778\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-1-HUMBERLY2-1-1024x576.jpg\" alt=\"The motion capture and dialogue performances of Humberly Gonz\u00e1lez influenced the animation for Kay Vess.\" width=\"1024\" height=\"576\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-1-HUMBERLY2-1-1024x576.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-1-HUMBERLY2-1-768x432.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-1-HUMBERLY2-1.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146778\" class=\"wp-caption-text\">The motion capture and dialogue performances of Humberly Gonz\u00e1lez influenced the animation for Kay Vess.<\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"wpb_column vc_column_container vc_col-sm-6\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<p>Inspired by World War II aerial dogfights, outer space battles are a trademark of <em>Star Wars <\/em>and something fans would be expecting. \u201cOne of the biggest challenges I had with the lighting artists early on was if you look at the planet, the exposure kept changing violently,\u201d Hawes reveals. \u201cWe have a different lens for when you\u2019re in space. The exposure is clamped, so it gives you that <em>Star Wars <\/em>look where you can see the stars and planet, and when you\u2019re firing your blaster and have explosions going off, the exposure in the scene isn\u2019t fluctuating. Then it was making sure from my side that the lens is set up for space hits. It\u2019s going to be different in its thresholds. If you fire a missile, turret or blaster fire, you can\u2019t just flare. We want to have flare for the sun and anything else that is triggered, but everything else should be quite subtle. We have things like asteroids. In some maps, there are thousands of objects all updating. Normally, that is a bad idea to have each object updating, so we came up with a system for doing all of the updates and then doing it all in one pass.\u201d<\/p>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-12\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146769\" aria-describedby=\"caption-attachment-13146769\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13146769\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-8-TrailblazerBack-1-1024x576.jpg\" alt=\"There were many 1960s and 1970s technologies looked at for the Trailblazer, including muscle cars.\" width=\"1024\" height=\"576\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-8-TrailblazerBack-1-1024x576.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-8-TrailblazerBack-1-768x432.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-8-TrailblazerBack-1.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146769\" class=\"wp-caption-text\">There were many 1960s and 1970s technologies looked at for the <em>Trailblazer<\/em>, including muscle cars.<\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-6\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<p>Open world games are familiar territory for Massive Entertainment. \u201cThe biggest difference was that the <em>Tom Clancy\u2019s The Division <\/em>games we worked on were city-based open world,\u201d Podlesnigg remarks. \u201cNow we\u2019ve added landscapes, space, speeders and spaceships to it. The biggest difference for us was, \u2018How do we connect all of it together?\u2019 But with Snowdrop, we have one of the best toolsets on the planet, which is powerful to work with and also fun.\u201d One particular line of dialogue proved to be problematic. \u201cWe have the line, which is Kay Vess with ND-5 in the <em>Trailblazer <\/em>at the end of the mission, and they\u2019re satisfied in accomplishing what they needed to accomplish. ND-5 asks, \u2018Where are we going next?\u2019 And her line is, \u2018Anywhere we want.\u2019 Believe it or not, we shot over 100 versions of that line to get the proper tone! We had to record that for the announcement trailer and kept sending it to Lucasfilm. People would be like, \u2018Maybe here the tone can be different.\u2019 A lot of notes from everybody! I hope that some of the lines we created become as iconic [as \u2018I have a bad feeling about this.\u2019].\u201d Working on an established IP was fascinating. \u201cNot everything exists in the movie and you have to extrapolate,\u201d Erades observes. \u201cIt was interesting work to have to respect the IP and the vibe of <em>Star Wars, <\/em>but also make your own version and push it forward.\u201d<\/p>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"wpb_column vc_column_container vc_col-sm-6\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146779\" aria-describedby=\"caption-attachment-13146779\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13146779\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-2-NixPuppet1-1-1024x576.jpg\" alt=\"A Nix puppet was one of the props created for the motion capture sessions.\" width=\"1024\" height=\"576\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-2-NixPuppet1-1-1024x576.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-2-NixPuppet1-1-768x432.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-2-NixPuppet1-1.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146779\" class=\"wp-caption-text\">A Nix puppet was one of the props created for the motion capture sessions.<\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<hr\/>\n<hr\/>\n<hr\/><\/div><\/div>\n<\/div><\/div>\n<p> <br \/>\n <br \/>\n <br \/>\n <br \/>\n <br \/>\n <br \/>\n <br \/>\n <br \/>\n <br \/>\n <\/p>\n<div id=\"pum-395\" role=\"dialog\" aria-modal=\"false\" aria-labelledby=\"pum_popup_title_395\" class=\"pum pum-overlay pum-theme-386 pum-theme-lightbox popmake-overlay pum-click-to-close click_open\" data-popmake=\"{"id":395,"slug":"mailchimp-popup","theme_id":386,"cookies":[],"triggers":[{"type":"click_open","settings":{"extra_selectors":".btn-newsletter","do_default":null,"cookie":{"name":null}}}],"mobile_disabled":null,"tablet_disabled":null,"meta":{"display":{"position_bottom":false,"position_right":false,"position_left":false,"stackable":false,"overlay_disabled":false,"scrollable_content":false,"disable_reposition":false,"size":"medium","responsive_min_width":"300px","responsive_min_width_unit":false,"responsive_max_width":"500px","responsive_max_width_unit":false,"custom_width":"640px","custom_width_unit":false,"custom_height":"380px","custom_height_unit":false,"custom_height_auto":false,"location":"center top","position_from_trigger":false,"position_top":"100","position_fixed":false,"animation_type":"fade","animation_speed":"350","animation_origin":"center top","overlay_zindex":"1999999998","zindex":"1999999999"},"close":{"text":"","button_delay":"0","overlay_click":"true","esc_press":"true","f4_press":"true"},"click_open":[]}}\">\n<div id=\"popmake-395\" class=\"pum-container popmake theme-386 pum-responsive pum-responsive-medium responsive size-medium\">\n<div class=\"pum-content popmake-content\" tabindex=\"0\">\n<p>[mc4wp_form id=\u201d362\u2033]<\/p>\n<\/p><\/div>\n<p>\t\t\t\t\t\t\t<button type=\"button\" class=\"pum-close popmake-close\" aria-label=\"Close\"><br \/>\n\t\t\t\u00d7\t\t\t<\/button><\/p><\/div>\n<\/div>\n<link rel=\"stylesheet\" id=\"rs-plugin-settings-css\" href=\"https:\/\/vfxvoice.com\/wp-content\/plugins\/revslider\/sr6\/assets\/css\/rs6.css?ver=6.7.37\" type=\"text\/css\" media=\"all\"\/>\n<p> <br \/>\n\t\t <\/p>\n<div id=\"cookie-notice\" role=\"dialog\" class=\"cookie-notice-hidden cookie-revoke-hidden cn-position-bottom\" aria-label=\"Cookie Notice\" style=\"background-color: rgba(50,50,58,1);\">\n<p><span id=\"cn-notice-text\" class=\"cn-text-container\">We use cookies to ensure that we give you the best experience on our website. If you continue to use this site we will assume that you are happy with it.<\/span><span id=\"cn-notice-buttons\" class=\"cn-buttons-container\"><button id=\"cn-accept-cookie\" data-cookie-set=\"accept\" class=\"cn-set-cookie cn-button\" aria-label=\"Agree\" style=\"background-color: #e5b53b\">Agree<\/button><button data-link-url=\"https:\/\/vfxvoice.com\/privacy-policy\/\" data-link-target=\"_blank\" id=\"cn-more-info\" class=\"cn-more-info cn-button\" aria-label=\"Privacy policy\" style=\"background-color: #e5b53b\">Privacy policy<\/button><\/span><span id=\"cn-close-notice\" data-cookie-set=\"accept\" class=\"cn-close-icon\" title=\"No\"\/><\/p>\n<\/p><\/div>\n<p> <br \/>\n\t\t<\/body> \n<\/div>\n<p><em> \u2018 The preceding article may include information circulated by third parties \u2019 <\/em><\/p>\n<p><em> \u2018 Some details of this article were extracted from the following source vfxvoice.com \u2019 <\/em><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p> MASSIVE ENTERTAINMENT STRETCHES THE GALAXY FOR STAR WARS OUTLAWS – VFX Voice VFX Voice The award-winning definitive authority on all things visual effects in the world of film, TV, gaming, virtual reality, commercials, theme parks, and other new media. Winner of […]<\/p>\n","protected":false},"author":2,"featured_media":2062338,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_memberships_contains_paid_content":false,"jnews-multi-image_gallery":[],"jnews_single_post":[],"jnews_primary_category":[],"jnews_social_meta":[],"footnotes":""},"categories":[25172],"tags":[23300,24755],"class_list":["post-2062337","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertainment","tag-star-wars","tag-video-games"],"jetpack_featured_media_url":"https:\/\/celebrity.land\/en\/wp-content\/uploads\/2025\/10\/MASSIVE-ENTERTAINMENT-STRETCHES-THE-GALAXY-FOR-STAR-WARS-OUTLAWS.png","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2062337","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/comments?post=2062337"}],"version-history":[{"count":1,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2062337\/revisions"}],"predecessor-version":[{"id":2062339,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2062337\/revisions\/2062339"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media\/2062338"}],"wp:attachment":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media?parent=2062337"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/categories?post=2062337"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/tags?post=2062337"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}

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\n\tMASSIVE ENTERTAINMENT STRETCHES THE GALAXY FOR STAR WARS OUTLAWS – VFX Voice<\/title><br \/>\n\t<meta name=\"description\" content=\"Massive Entertainment utilized VFX to create an immersive event.\"\/>\n\t<link rel=\"canonical\" href=\"https:\/\/vfxvoice.com\/massive-entertainment-stretches-the-galaxy-for-star-wars-outlaws\/\"\/>\n\t<meta property=\"og:locale\" content=\"en_US\"\/><br \/>\n\t<meta property=\"og:type\" content=\"article\"\/><br \/>\n\t<meta property=\"og:title\" content=\"MASSIVE ENTERTAINMENT STRETCHES THE GALAXY FOR STAR WARS OUTLAWS\"\/><br \/>\n\t<meta property=\"og:description\" content=\"Massive Entertainment utilized VFX to create an immersive event.\"\/><br \/>\n\t<meta property=\"og:url\" content=\"https:\/\/vfxvoice.com\/massive-entertainment-stretches-the-galaxy-for-star-wars-outlaws\/\"\/><br \/>\n\t<meta property=\"og:site_name\" content=\"VFX Voice\"\/><br \/>\n\t<meta property=\"article:publisher\" 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class=\"oi_head_holder\">\n<div class=\"oi_smalldev_holder hidden-lg hidden-md\">\n<div class=\"textwidget custom-html-widget\">\n<p style=\"line-height: 1.1;\"><i><strong>VFX Voice<\/strong><\/i><\/p>\n<p style=\"line-height: 1.1;\"><small>The award-winning definitive authority on all things visual effects in the world of film, TV, gaming, virtual reality, commercials, theme parks, and other new media.<\/small><\/p>\n<p style=\"line-height: 1.1;\"><small><small><i>Winner of three prestigious Folio Awards for excellence in publishing.<\/i><\/small><\/small><\/p>\n<\/div><\/div>\n<div class=\"oi_logo_place\">\n<div class=\"oi_logo\">\n<div class=\"oi_logo_inner_holder\">\n <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/vfxvoice.com\"><\/a><\/p><\/div><\/div><\/div>\n<div class=\"oi_categories_place\">\n<div class=\"textwidget custom-html-widget\">\n<p style=\"line-height: 1.1;\"><i><strong>VFX Voice<\/strong><\/i><\/p>\n<p style=\"line-height: 1.1;\"><small>The award-winning definitive authority on all things visual effects in the world of film, TV, gaming, virtual reality, commercials, theme parks, and other new media.<\/small><\/p>\n<p style=\"line-height: 1.1;\"><small><small><i>Winner of three prestigious Folio Awards for excellence in publishing.<\/i><\/small><\/small><\/p>\n<\/div>\n<p> <\/p>\n<p> \n <\/div>\n<\/div>\n<p> <br \/>\n <br \/>\n <br \/>\n <\/p>\n<div data-sticky_parent=\"\" class=\"oi_single_post post-13146768 post type-post status-publish format-standard has-post-thumbnail hentry category-video-games tag-star-wars tag-video-games issue-fall-2025\" id=\"post-13146768\">\n<div class=\"oi_single_post_standard\">\n<div class=\"oi_single_post_title\">\n<p> <br \/>\n <strong>October 01 <span class=\"oi_year\">2025<\/span><\/strong> <br \/>\n  \n <\/p>\n<div class=\"oi_single_post_conent\">\n<div class=\"wpb-content-wrapper\">\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-12\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<p>Images courtesy of Ubisoft Entertainment and Lucasfilm Ltd.<\/p>\n<\/p><\/div><\/div>\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146780\" aria-describedby=\"caption-attachment-13146780\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img fetchpriority=\"high\" decoding=\"async\" class=\"size-medium wp-image-13146780\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-3-SWO_Screenshots_CapturedInEngine_Akiva_Speeder_FINAL_ULTRA_WIDE-1-1024x439.jpg\" alt=\"To give the imagery a cinematic feel, inspiration was taken from the Ultra Panavision 70 camera used to capture the footage for Rogue One: A Star Wars Story.\" width=\"1024\" height=\"439\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-3-SWO_Screenshots_CapturedInEngine_Akiva_Speeder_FINAL_ULTRA_WIDE-1-1024x439.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-3-SWO_Screenshots_CapturedInEngine_Akiva_Speeder_FINAL_ULTRA_WIDE-1-768x329.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-3-SWO_Screenshots_CapturedInEngine_Akiva_Speeder_FINAL_ULTRA_WIDE-1.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146780\" class=\"wp-caption-text\">To give the imagery a cinematic feel, inspiration was taken from the Ultra Panavision 70 camera used to capture the footage for <em>Rogue One: A Star Wars Story.<\/em><\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"wpb_column vc_column_container vc_col-sm-12\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<p>Considered part of the revival of Lucasfilm Games is the first <em>Star Wars <\/em>open world video game where small-time thief Kay Vess becomes entangled with the Pyke Syndicate, Crimson Dawn, Ashiga Clan and Hutt Cartel. Set between <em>The Empire Strikes Back <\/em>and <em>Return of the Jedi<\/em>, <em>Star Wars Outlaws <\/em>was published by Ubisoft and developed by Massive Entertainment, which is responsible for the real-time tactical games <em>Ground Control <\/em>and <em>World in Conflict<\/em>. The action-adventure revisits familiar faces and places while introducing new planets and characters that expand the scope and understanding of the ruthless criminal underworld. The end result went on to receive the 2025 VES Award for Outstanding Visual Effects in a Real-Time Project, highlighting how visual effects have become an integral part of providing players with an immersive experience.<\/p>\n<\/p><\/div><\/div>\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<p>Even though the story is set in the <em>Star Wars <\/em>universe, an effort was made not to be self-referential when devising the shape language for the game. \u201cIt\u2019s not just to reiterate all of the things that you have seen from <em>Star Wars, <\/em>but to bring new things into <em>Star Wars<\/em>,\u201d notes Benedikt Podlesnigg, Art & World Director at Massive Entertainment. \u201cOne thing that we tried to avoid doing was only looking at <em>Star Wars <\/em>reference to create new <em>Star Wars <\/em>because, in the end, you will never create something new. We looked at what inspired George Lucas, Ralph McQuarrie and Doug Chiang when they created new things. What are they looking at? What is the cultural influence? Using the example of Toshara, we examined what if, instead of making a game, we made a movie. Where would we go and film it? Then, we explored that location and drew inspiration from it. The winds shaped Toshara, so we brought aerodynamics into it, which answered many questions for us. It influenced the shapes and patterns.\u201d<\/p>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-12\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146777\" aria-describedby=\"caption-attachment-13146777\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img decoding=\"async\" class=\"size-medium wp-image-13146777\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-23-SWO_APiratesFortune_Screenshot_KhepiSpace-1-1024x576.jpg\" alt=\"The Trailblazer flies through the Khepi system.\" width=\"1024\" height=\"576\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-23-SWO_APiratesFortune_Screenshot_KhepiSpace-1-1024x576.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-23-SWO_APiratesFortune_Screenshot_KhepiSpace-1-768x432.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-23-SWO_APiratesFortune_Screenshot_KhepiSpace-1.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146777\" class=\"wp-caption-text\">The <em>Trailblazer<\/em> flies through the Khepi system.<\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"wpb_column vc_column_container vc_col-sm-12\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<p>The wind needed to be simulated on Toshara, which raised the complexity. \u201cNormally for a game, you would have one wind vector, which is going to be the direction and strength pointing in a direction,\u201d remarks Stephen Hawes, Technical Art Director at Massive Entertainment. \u201cThe biggest challenge was that we changed the wind system in Snowdrop [the in-house game engine], so it\u2019s more the Beaufort system for wind strength. When the art director says, \u2018I want strong wind,\u2019 you give him strong wind, and everything is flapping around. \u2018That\u2019s too strong. Let\u2019s pull it back.\u2019 But there\u2019s no word to describe or number to put on this. We literally made a weather vane prop that would spin based on the wind, and it would give a read on how windy it was. We had all of the wind settings with a written English term like \u2018still\u2019 for no wind and \u2018hurricane\u2019 for a violent storm. On the cantina, you have little slats on the windows that move based on wind strength. If the wind strength is too high, they will move too much. It was important that we got that value nailed down with Ben, then tweaked things, like more movement in the grass or less movement on the clouds. That\u2019s an easier distinction to make to get the whole world working. We added a whole different wind track for how the grass moves.\u201d<\/p>\n<\/p><\/div><\/div>\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<p>Ray tracing was an indispensable tool for ensuring lighting continuity. \u201cWe used ray tracing to give us quite a bit back in terms of real-time lighting updates,\u201d Hawes explains. \u201cThere are many things you can do when the lighting isn\u2019t baked. This allowed us to create interesting set pieces. One of the examples we used as part of our [VES Awards] nomination reel was the collapsing tunnel. You\u2019re escaping a ship that is landlocked, falling apart, and the corridor is slipping vertically while you\u2019re in it. You\u2019re sliding down through it as explosions are going off. There are many moving parts that we can do far more with now to keep the lighting all consistent.\u201d A new environmental experience for Massive Entertainment was going beyond the ozone layer into outer space. \u201cFor Snowdrop, one of the big new improvements was how we handled space content, especially the nebulae that we have on Kijimi or Toshara, which is one of the space regions we created that has huge volumetric clouds where you have more or less density,\u201d explains Baptiste Erades, Senior VFX Artist at Massive Entertainment. \u201cThis was not something that the engine was meant to be putting the player in, such a big mass of overdraw. We are usually trying not to put the player in this perspective. However, since we are in space, and there are many examples in <em>Star Wars <\/em>where they have this situation, like in the Kessel Run, we had to create a whole new technology that improved our volumetric system so it can also be used for clouds and such things.\u201d<\/p>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-12\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146776\" aria-describedby=\"caption-attachment-13146776\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img decoding=\"async\" class=\"size-medium wp-image-13146776\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-22-SWO_Screenshots_CapturedInEngine_Akiva_Action_WIDE-1-1024x576.jpg\" alt=\"Laser bolts had to appear not too saturated or luminous, no matter the time of day or environment.\" width=\"1024\" height=\"576\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-22-SWO_Screenshots_CapturedInEngine_Akiva_Action_WIDE-1-1024x576.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-22-SWO_Screenshots_CapturedInEngine_Akiva_Action_WIDE-1-768x432.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-22-SWO_Screenshots_CapturedInEngine_Akiva_Action_WIDE-1.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146776\" class=\"wp-caption-text\">Laser bolts had to appear not too saturated or luminous, no matter the time of day or environment.<\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-12\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146771\" aria-describedby=\"caption-attachment-13146771\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13146771\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-10-Nix_Speakeasy-1-1024x576.jpg\" alt=\"The Nix mode allows the character to perform various tasks, such as open doors, distract guards or pick pockets.\" width=\"1024\" height=\"576\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-10-Nix_Speakeasy-1-1024x576.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-10-Nix_Speakeasy-1-768x432.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-10-Nix_Speakeasy-1.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146771\" class=\"wp-caption-text\">The Nix mode allows the character to perform various tasks, such as open doors, distract guards or pick pockets.<\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-6\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146774\" aria-describedby=\"caption-attachment-13146774\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13146774\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-14-Cryo_room-1-1024x576.jpg\" alt=\"Ray tracing was an important part of being able to light the cryogenic room properly and consistently.\" width=\"1024\" height=\"576\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-14-Cryo_room-1-1024x576.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-14-Cryo_room-1-768x432.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-14-Cryo_room-1.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146774\" class=\"wp-caption-text\">Ray tracing was an important part of being able to light the cryogenic room properly and consistently.<\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"wpb_column vc_column_container vc_col-sm-6\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<p>Having to interact with the various environments are the iconic speeders. \u201cIt was a lot of fun, but still challenging because at some point when a speeder gets chased by other speeders, you start to have a lot of visual effects and elements reacting to them,\u201d Erades states. \u201cPerformance-wise, this was quite tricky. One of the things that was challenging, especially in the <em>Star Wars <\/em>universe, is that the speeder floats in the air, so you don\u2019t have any real feedback elements. You don\u2019t have any wind blowing, except for when they start moving. We had to find a way to make them feel real. Usually, in other games, you have the wheel turning fast and white smoke coming out. We had to try to drag some of the ground, depending on whether it was mud or dust, to come out, to make the speeder more anchored, even if it was actually flying. It was the same when you jumped. Depending on how your speeder lands, you will have some dirt spikes coming next to you to emphasize the heavy damage that you can take on top of this huge speed you have. We\u2019re trying to get all these elements in our scene.\u201d<\/p>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"wpb_column vc_column_container vc_col-sm-12\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<p>Research was conducted into the design techniques and camera choices that the various filmmakers had made for big-screen installments of the <em>Star Wars <\/em>franchise. \u201cOnce we had that narrative, we treated it as a movie set,\u201d reveals Bogdan Draghici, Realization Director at Massive Entertainment. \u201cWhen doing the mocap, we recorded all of the cameras, so the camera movements and feel come from cameras being operated by real camera operators. We realized that the imagery for this project would be challenging to achieve with our standard camera tools. We had discussions with Stephen [Hawes] and his department. They created this unique lens project that emulates certain types of cameras and lenses. In our case, the camera we were targeting was the same one used in <em>Rogue One: A Star Wars Story<\/em>. It was Ultra Panavision 70. It\u2019s an anamorphic camera, which comes with a specific set of artifacts and traits. We tried to go as cinematic as possible for each cinematic [shot], not only to support the story but to feel like a small movie.\u201d<\/p>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-12\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146770\" aria-describedby=\"caption-attachment-13146770\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13146770\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-9-ComicCon_Mirogana_01-1-1024x576.jpg\" alt=\" The wind system in Snowdrop was altered to honor the Beaufort system for wind strength.\" width=\"1024\" height=\"576\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-9-ComicCon_Mirogana_01-1-1024x576.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-9-ComicCon_Mirogana_01-1-768x432.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-9-ComicCon_Mirogana_01-1.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146770\" class=\"wp-caption-text\">The wind system in Snowdrop was altered to honor the Beaufort system for wind strength.<\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-6\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<p>Getting the correct visual aesthetic also meant taking a retro approach. \u201cWe looked at every reference for characters, clothing or technology from the era when the movie was made,\u201d Podlesnigg remarks. \u201cThere were 1960s and1970s technologies that we looked at for the <em>Trailblazer<\/em>. There are some muscle cars in there. We used a Swedish motorbike as a reference for our speeder. However, even for the characters, Kay Vess\u2019s haircut is inspired by the style seen in the movie. It\u2019s these kinds of references and all of these small things put together that make the aesthetic work. If you take one thing that is too modern or old, it doesn\u2019t work anymore.\u201d An important aspect of the world-building was being true to the setting being depicted. \u201cToshara is a moon with a solid Amberine core that has a crust on top of it that is slowly being stripped away by the wind,\u201d Podlesnigg states. \u201cEverything was created with that in mind. The wind direction, architecture, harnessing of wind for electricity, the choice of lenses you see in space, the nebula and the dust clouds revolve around this concept. Our world-building team has done a tremendous job hitting all of these small notes.\u201d<\/p>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"wpb_column vc_column_container vc_col-sm-6\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146781\" aria-describedby=\"caption-attachment-13146781\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13146781\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-4-MiroganaCity-1-1024x576.jpg\" alt=\"Much of the world-building was devoted to the arid moon environment of Toshara, with Mirogana City being the central hub of activity.\" width=\"1024\" height=\"576\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-4-MiroganaCity-1-1024x576.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-4-MiroganaCity-1-768x432.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-4-MiroganaCity-1.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146781\" class=\"wp-caption-text\">Much of the world-building was devoted to the arid moon environment of Toshara, with Mirogana City being the central hub of activity.<\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-12\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146772\" aria-describedby=\"caption-attachment-13146772\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-13146772 size-medium\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-12-HeroShot_ND5-1-1024x576.jpg\" alt=\"Modified BX Commando droid ND-5 serves as the co-pilot of the Trailblazer.BOTTOM: Kay Vess rappels down the \" width=\"1024\" height=\"576\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-12-HeroShot_ND5-1-1024x576.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-12-HeroShot_ND5-1-768x432.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-12-HeroShot_ND5-1.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146772\" class=\"wp-caption-text\">Modified BX Commando droid ND-5 serves as the co-pilot of the <em>Trailblazer<\/em>.<\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-6\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146773\" aria-describedby=\"caption-attachment-13146773\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13146773\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-13-SWO_Screenshots_CapturedInEngine_Toshara_Hook_Final_WIDE-1-1024x576.jpg\" alt=\"Kay Vess rappels down the side of a building in Toshara.\" width=\"1024\" height=\"576\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-13-SWO_Screenshots_CapturedInEngine_Toshara_Hook_Final_WIDE-1-1024x576.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-13-SWO_Screenshots_CapturedInEngine_Toshara_Hook_Final_WIDE-1-768x432.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-13-SWO_Screenshots_CapturedInEngine_Toshara_Hook_Final_WIDE-1.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146773\" class=\"wp-caption-text\">Kay Vess rappels down the side of a building in Toshara.<\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"wpb_column vc_column_container vc_col-sm-6\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<p>Cinematics have different aspects when it comes to complexity. \u201cWe have the Barsha standoff where the intensity of the emotions is quite high, and that is to be reflected in the performance,\u201d Draghici states. \u201cNot to mention, compared to film, all of these performances have to be translated to CGI puppets. How can we make this transfer to preserve as much of the actor\u2019s performance as possible? Then we have the Darth Vader scene. Because Sliro Barsha has such a big ego, he displays artifacts collected from conquered gangs and species in a glass case. I wanted to play with reflections on the glass. Sliro Barsha is admiring his collection, and then, in the glass reflection, you see the door opening and Darth Vader comes in. We had to do all the math behind where the character needs to stand, where he needs to look, what point on that glass he needs to look at, how the camera needs to move around the character to make sure that it\u2019s at the perfect moment for when the door opens and Darth Vader is revealed. And there\u2019s the complexity of seamless transitions and keeping the player immersed.\u201d<\/p>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-12\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146782\" aria-describedby=\"caption-attachment-13146782\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-13146782 size-medium\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-6-Jabba-1-1024x576.jpg\" alt=\"Among the familiar faces making an appearance is Jabba the Hutt.\" width=\"1024\" height=\"576\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-6-Jabba-1-1024x576.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-6-Jabba-1-768x432.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-6-Jabba-1.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146782\" class=\"wp-caption-text\">Among the familiar faces making an appearance is Jabba the Hutt.<\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-6\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<p>Devising a hologram system was not easy. \u201cIt sounds straightforward, but we had to answer interesting questions, like what if you look at a hologram from top down?\u201d Hawes states. \u201cI\u2019m proud of the results we got. Moreover, it helped with the narrative because if the script changed and this character was no longer on the ship but needed to be talking, how do we do that? The character can be added through a hologram, which allows for the scene to be placed back in. Keeping in mind the era you\u2019re in, the holograms change in terms of aesthetic. Giving the art director the tools to tweak and make the holograms look as they needed, while also ensuring they worked aesthetically, was a big challenge. In the end, the holograms became quite a strong element within the game.\u201d Blaster fire was another interactive light element. \u201cFor tracer bullets, you usually boost the intensity for daytime, otherwise you will not see it,\u201d Erades explains. \u201cYou have another intensity for night and maybe a third one for when you\u2019re inside a building. Our game is quite difficult because we have multiple planets with different times of day, so it\u2019s hard to know if it\u2019s nighttime or daytime, and you have space with a different sun that has various colors. It was challenging to keep a consistent look for the laser bolt that was not too saturated or luminous but still felt like a powerful effect in all situations without triggering the lens flare.\u201d<\/p>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"wpb_column vc_column_container vc_col-sm-6\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146775\" aria-describedby=\"caption-attachment-13146775\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13146775\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-17-SWO_UbiFW_outside_wreck_NoLogo-1-1024x576.jpg\" alt=\"Kay Vess and Nix come across an old ship wreckage site.\" width=\"1024\" height=\"576\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-17-SWO_UbiFW_outside_wreck_NoLogo-1-1024x576.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-17-SWO_UbiFW_outside_wreck_NoLogo-1-768x432.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-17-SWO_UbiFW_outside_wreck_NoLogo-1.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146775\" class=\"wp-caption-text\">Kay Vess and Nix come across an old ship wreckage site.<\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-12\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146783\" aria-describedby=\"caption-attachment-13146783\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13146783\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-7-JabbasPalace-1-1024x576.jpg\" alt=\"The first planet introduced in the Star Wars universe, Tatooine gets visited, with Jabba\u2019s Palace being a prominent setting.\" width=\"1024\" height=\"576\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-7-JabbasPalace-1-1024x576.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-7-JabbasPalace-1-768x432.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-7-JabbasPalace-1.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146783\" class=\"wp-caption-text\">The first planet introduced in the<em> Star Wars<\/em> universe, Tatooine gets visited, with Jabba\u2019s Palace being a prominent setting.<\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-6\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146778\" aria-describedby=\"caption-attachment-13146778\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13146778\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-1-HUMBERLY2-1-1024x576.jpg\" alt=\"The motion capture and dialogue performances of Humberly Gonz\u00e1lez influenced the animation for Kay Vess.\" width=\"1024\" height=\"576\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-1-HUMBERLY2-1-1024x576.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-1-HUMBERLY2-1-768x432.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-1-HUMBERLY2-1.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146778\" class=\"wp-caption-text\">The motion capture and dialogue performances of Humberly Gonz\u00e1lez influenced the animation for Kay Vess.<\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"wpb_column vc_column_container vc_col-sm-6\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<p>Inspired by World War II aerial dogfights, outer space battles are a trademark of <em>Star Wars <\/em>and something fans would be expecting. \u201cOne of the biggest challenges I had with the lighting artists early on was if you look at the planet, the exposure kept changing violently,\u201d Hawes reveals. \u201cWe have a different lens for when you\u2019re in space. The exposure is clamped, so it gives you that <em>Star Wars <\/em>look where you can see the stars and planet, and when you\u2019re firing your blaster and have explosions going off, the exposure in the scene isn\u2019t fluctuating. Then it was making sure from my side that the lens is set up for space hits. It\u2019s going to be different in its thresholds. If you fire a missile, turret or blaster fire, you can\u2019t just flare. We want to have flare for the sun and anything else that is triggered, but everything else should be quite subtle. We have things like asteroids. In some maps, there are thousands of objects all updating. Normally, that is a bad idea to have each object updating, so we came up with a system for doing all of the updates and then doing it all in one pass.\u201d<\/p>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-12\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146769\" aria-describedby=\"caption-attachment-13146769\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13146769\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-8-TrailblazerBack-1-1024x576.jpg\" alt=\"There were many 1960s and 1970s technologies looked at for the Trailblazer, including muscle cars.\" width=\"1024\" height=\"576\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-8-TrailblazerBack-1-1024x576.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-8-TrailblazerBack-1-768x432.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-8-TrailblazerBack-1.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146769\" class=\"wp-caption-text\">There were many 1960s and 1970s technologies looked at for the <em>Trailblazer<\/em>, including muscle cars.<\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_row wpb_row vc_row-fluid\">\n<div class=\"wpb_column vc_column_container vc_col-sm-6\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<p>Open world games are familiar territory for Massive Entertainment. \u201cThe biggest difference was that the <em>Tom Clancy\u2019s The Division <\/em>games we worked on were city-based open world,\u201d Podlesnigg remarks. \u201cNow we\u2019ve added landscapes, space, speeders and spaceships to it. The biggest difference for us was, \u2018How do we connect all of it together?\u2019 But with Snowdrop, we have one of the best toolsets on the planet, which is powerful to work with and also fun.\u201d One particular line of dialogue proved to be problematic. \u201cWe have the line, which is Kay Vess with ND-5 in the <em>Trailblazer <\/em>at the end of the mission, and they\u2019re satisfied in accomplishing what they needed to accomplish. ND-5 asks, \u2018Where are we going next?\u2019 And her line is, \u2018Anywhere we want.\u2019 Believe it or not, we shot over 100 versions of that line to get the proper tone! We had to record that for the announcement trailer and kept sending it to Lucasfilm. People would be like, \u2018Maybe here the tone can be different.\u2019 A lot of notes from everybody! I hope that some of the lines we created become as iconic [as \u2018I have a bad feeling about this.\u2019].\u201d Working on an established IP was fascinating. \u201cNot everything exists in the movie and you have to extrapolate,\u201d Erades observes. \u201cIt was interesting work to have to respect the IP and the vibe of <em>Star Wars, <\/em>but also make your own version and push it forward.\u201d<\/p>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"wpb_column vc_column_container vc_col-sm-6\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_text_column wpb_content_element\">\n<div class=\"wpb_wrapper\">\n<figure id=\"attachment_13146779\" aria-describedby=\"caption-attachment-13146779\" style=\"width: 1024px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13146779\" src=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-2-NixPuppet1-1-1024x576.jpg\" alt=\"A Nix puppet was one of the props created for the motion capture sessions.\" width=\"1024\" height=\"576\" srcset=\"https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-2-NixPuppet1-1-1024x576.jpg 1024w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-2-NixPuppet1-1-768x432.jpg 768w, https:\/\/vfxvoice.com\/wp-content\/uploads\/2025\/09\/PIX-2-NixPuppet1-1.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption id=\"caption-attachment-13146779\" class=\"wp-caption-text\">A Nix puppet was one of the props created for the motion capture sessions.<\/figcaption><\/figure>\n<\/p><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<hr\/>\n<hr\/>\n<hr\/><\/div><\/div>\n<\/div><\/div>\n<p> <br \/>\n <br \/>\n <br \/>\n <br \/>\n <br \/>\n <br \/>\n <br \/>\n <br \/>\n <br \/>\n <\/p>\n<div id=\"pum-395\" role=\"dialog\" aria-modal=\"false\" aria-labelledby=\"pum_popup_title_395\" class=\"pum pum-overlay pum-theme-386 pum-theme-lightbox popmake-overlay pum-click-to-close click_open\" data-popmake=\"{"id":395,"slug":"mailchimp-popup","theme_id":386,"cookies":[],"triggers":[{"type":"click_open","settings":{"extra_selectors":".btn-newsletter","do_default":null,"cookie":{"name":null}}}],"mobile_disabled":null,"tablet_disabled":null,"meta":{"display":{"position_bottom":false,"position_right":false,"position_left":false,"stackable":false,"overlay_disabled":false,"scrollable_content":false,"disable_reposition":false,"size":"medium","responsive_min_width":"300px","responsive_min_width_unit":false,"responsive_max_width":"500px","responsive_max_width_unit":false,"custom_width":"640px","custom_width_unit":false,"custom_height":"380px","custom_height_unit":false,"custom_height_auto":false,"location":"center top","position_from_trigger":false,"position_top":"100","position_fixed":false,"animation_type":"fade","animation_speed":"350","animation_origin":"center top","overlay_zindex":"1999999998","zindex":"1999999999"},"close":{"text":"","button_delay":"0","overlay_click":"true","esc_press":"true","f4_press":"true"},"click_open":[]}}\">\n<div id=\"popmake-395\" class=\"pum-container popmake theme-386 pum-responsive pum-responsive-medium responsive size-medium\">\n<div class=\"pum-content popmake-content\" tabindex=\"0\">\n<p>[mc4wp_form id=\u201d362\u2033]<\/p>\n<\/p><\/div>\n<p>\t\t\t\t\t\t\t<button type=\"button\" class=\"pum-close popmake-close\" aria-label=\"Close\"><br \/>\n\t\t\t\u00d7\t\t\t<\/button><\/p><\/div>\n<\/div>\n<link rel=\"stylesheet\" id=\"rs-plugin-settings-css\" href=\"https:\/\/vfxvoice.com\/wp-content\/plugins\/revslider\/sr6\/assets\/css\/rs6.css?ver=6.7.37\" type=\"text\/css\" media=\"all\"\/>\n<p> <br \/>\n\t\t <\/p>\n<div id=\"cookie-notice\" role=\"dialog\" class=\"cookie-notice-hidden cookie-revoke-hidden cn-position-bottom\" aria-label=\"Cookie Notice\" style=\"background-color: rgba(50,50,58,1);\">\n<p><span id=\"cn-notice-text\" class=\"cn-text-container\">We use cookies to ensure that we give you the best experience on our website. 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