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What\u2019s more, the cameras were delivered right before the film began shooting. As the same article puts it: \u201cThe crew had to relearn their jobs, and the set was buried in miles of cable, but they worked. Even in the sun-baked deserts of Tunisia\u201d.<\/p>\n
If you\u2019ve never heard of 8-bit before or don\u2019t know what it means, it refers to color depth. Simply put, an 8-bit color depth displays far fewer colors (16.7 million) than a 10-bit color depth (1.07 billion) or a 12-bit color depth (over 68 billion). Take a look at our 10-bit vs 8-bit video<\/a> explainer for more.<\/p>\n Things get a little tricky when you try to compare digital to film, since film doesn\u2019t have a color depth, but such is the incredible quality of film and the gorgeous colors good film can display, rest assured, it\u2019s far superior to an 8-bit digital camera.<\/p>\n On the one hand, I find it mindblowing that a project as huge as Attack of the Clones was essentially a digital filmmaking guinea pig, but on the other, it fits George Lucas\u2019s MO. Be it directly or indirectly, Star Wars helped kickstart the likes of Pixar, THX, Industrial Light and Magic, and even Photoshop<\/a>!<\/p>\n The Original Trilogy pushed visual effects to new heights, and the Star Wars Trilogy Special Edition (1997) confidently embraced the rising trend of CGI. It\u2019s not surprising that George Lucas took it upon himself to take digital filmmaking to the next level.<\/p>\n I had no idea the Sony Cinealta HDW-F900 was built for Star Wars (Image credit: Sony)<\/p>\n In the @indiefilmpodcast<\/a> Reel, it\u2019s explained that the Sony Cinealta HDW-F900 had a dynamic range of around 7 stops, which is meagre by today\u2019s standards, but I don\u2019t think these digital limitations are the sole reason why the film appears to have aged.<\/p>\n I\u2019m biased, because I love the prequels almost as much as I love the Original Trilogy, but there\u2019s no doubt in my mind that Attack of the Clones hasn\u2019t aged as well as some other films of the same period.<\/p>\n Film quality was at its peak at the turn of the millennium, so the jump to digital \u2013 much like during the DSLR revolution \u2013 was always going to need a little time to catch up. However, it\u2019s also worth remembering that both Attack of the Clones and the subsequent Revenge of the Sith also relied heavily on older CGI.<\/p>\n It might not be a popular opinion, but I think The Phantom Menace holds up much better than Attack of the Clones and Revenge of the Sith from a filmmaking standpoint. It’s the only one of the prequels to be shot on film and, because of that, it just looks richer and more detailed.<\/p>\n It also relied much less on CGI (although there was still a lot) and more on real locations, actors and practical effects. However, you need look no further than 28 Days Later as a film that used the limitations of digital filmmaking to its advantage. Interestingly, it was released the same year as Attack of the Clones and was shot in 480p<\/a>!<\/p>\n In a world that\u2019s been quite critical of the Star Wars Prequel Trilogy, I want to make it clear that George Lucas is one of my biggest filmmaking, creative and narrative inspirations. He truly is a modern filmmaking pioneer and visionary.<\/p>\n Films like Attack of the Clones and 28 Days Later paved the way for digital filmmaking, which has become more important than ever in today’s world. You might take your Sony FX3<\/a> or Blackmagic Pocket Cinema Camera<\/a> for granted, but it\u2019s quite possible that Star Wars helped pave the way.<\/p>\n Also, I’m a millennial. Jar Jar and Jango Fett are my jam! <\/p>\n You might also like… <\/p>\n Has color grading gone too far? This YouTube video hits on a subject I\u2019ve pondered for years<\/a>. Perhaps you’re wondering about the differences between the Sony FX30 vs FX3<\/a>? And if you’re into filmmaking, here are the best cinema cameras<\/a>.<\/p>\n![\"Sony](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2025\/07\/SmUYDyrWV4G3jcddQdijun.jpg\")
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