Surprise! The studio has been painted chromakey green -- no more paperhanging!

Pay no attention to the man behind the screen. He's just adjusting your lighting.

It's very hot and hard to hear under the helmets.

Eric Tank and Matt Shipley, buckets on and off.

Bryan wants a promotion before going on camera.

This Imperial officer will be on the deck of a ship, surveying a busy crew.

Meanwhile, Everett relaxes and Karen studies.

Is there anything sadder than empty Trooper boots?

Everett's waiting for his close-up.

Shane indicates the blocking he wants, then checks it on the monitor against the animatic.

Shane casts a long shadow.

Matt and Everett receive some direction.

Blocking is worked out.

Matt enters from off-screen and stops at Everett's shoulder.

Everett listens to Matt's message.

Bryan gives Matt his orders.

Action! Action! Oh, for heaven's sake -- action!

Sam gears up for the TIE pilot shots.

When she heard that a TIE pilot was needed, Sam left the studio, drove to her home a half-hour away, and returned with her gear.

Jack rummages for supplies at the back of the studio and emerges with a gel for a light.

Shane explains to Sam just how he wants her to pilot her TIE.

Wooden risers (traditionally called "apple crates") under the chair and a tilted camera create the angle needed for filming.

See Jack's animated Vader figure. See Matt and Ward dance along with it. See why the 501st is known as Vader's Fist.

Shane's hard at work. The extras are hardly working.

Look! Up in the sky! It's a bird! It's a plane! It's Super Lighting Man!

Yes, Super Lighting Man, able to attach a gel with only a clothespin.

Jack explains that this is the biggest light in the studio at 2000 watts. To give you some idea of the difference between video (which REVELATIONS is shot on) and film, a 2K light is considered a "baby" -- film routinely uses 20K and 40K watt lights.

Sam's view of filming (assuming that she can see anything with her helmet on and lights shining in her eyes).

The monitor's view of filming.

Lighting is an integral part of creating just the right look.

The set-up is reversed and the apple crates removed to get shots over Sam's shoulder.

Ward has been to so many shoots that he's added 'grip' to his credits.

Ward adjusts a light and Jack moves the camera as Shane checks it on the monitor.

Sometimes the camera records a wide, sweeping panorama... and sometimes it moves in extremely close.

Q: Oh, Magic 8 Ball! What will happen when I report to Lord Vader? A: Outlook grim.

Shane checks audio levels in the booth while Jack adjusts things in the studio.

Jack checks the list of ADR scenes.

Karen gets comfortable in the booth.

The mixing board.

Jack gets everything synched up.

Jack explains the process -- Karen will watch a scene and practice saying the line, matching the words to her lips movements. Then they'll record her, creating a new audio track.

Shane gives Karen some direction.

Girl in a glass box.

Jack adjusts the audio levels in Karen's headphones.

Shane watches to see that Karen's timing matches the footage.

Jack checks the newly-created audio track.

Everybody sing! Video killed the radio star....