The Mandalorian’s set used some severe Danger Room/Holodeck things to manage a virtual shot-on-location feel for its various settings, and powering the world forecasted on its huge LED wall was none aside from Impressive Games’ Unreal Engine 4.
What director Jon Favreau and the cinematographers and animators of The Mandalorian counted on was really as easy as good old-fashioned projection screen filming— other than this has to do with a bajillion times more practical than video rolling in the background while somebody gratuitously turns a guiding wheel.
That’s thanks to a 20- foot high, 270- degree semicircular LED video wall, which showed places from the ice world of Maldo Kreis to the ominous hideout of The Customer. These environments were modified in real time, right up to shooting, and enabled Pedro Pascal, Gina Carano, Werner Herzog, et al., to communicate as if they remained in a physically builtspace
The setup enabled the cast to shoot in numerous places in a single day, to shoot at a specific time of day for 10 hours if essential, or perhaps (actually) move a mountain in the background to get a much better shot. You truly see (or, rather, do not see) the distinction when characters are aboard a moving vehicle.
The forecast behind them makes the scene look perfectly practical since, well, it’s really part of the shot, it’s not being added in later on. It’s an excellent take a look at the future of TELEVISION and moviemaking, where Star Wars has actually been at the lead for more than 40 years now. And it speaks optimistically of a future where sci-fi TELEVISION series can have all the production worths of a big budget theatrical release, where expense factors to consider produced some obvious restrictions even a years earlier.