Echo Base | Star Wars | Atlas

Beneath the arctic wasteland of Hoth, lay Echo Base, hidden sanctuary of the Rebel Alliance.

The Templin Institute. Investigating alternate worlds.

New episodes every week.

Other Divisions & Branches:
🔹 Patreon |
🔹 The Templin Commissary |
🔹 Twitch |
🔹 The Templin Archives |

Communications & Media:
🔹 Website |
🔹 Discord |
🔹 Facebook |
🔹 Twitter |
🔹 Instagram |

Narration by Larissa Thompson

Background music “Indomitable” by Elliot Middleton. Used under license from

Ending music “Battle Forever” used under license from

Related Posts

“HOSTILES ON THE HILL” — A Bad Lip Reading of The Empire Strikes Back

An extended version of Luke’s snowspeeder rap, originally seen here: Brought to you by GEICO
Follow on Twitter!
Follow on Instagram: @badlipreading
Like on Facebook!

Related Posts

The Empire Strikes Back Featurette: How Walkers Walk with Dennis Muren

Dennis Muren looks back on how Industrial Light & Magic animated the AT-AT walkers from The Empire Strikes Back’s Battle of Hoth sequence — and the inspiration for the techniques used.

Originally, Muren and his team were unsure of how they would bring the AT-ATs to life. The first idea was to build an actual robot that could move by itself, but that was deemed too complicated and costly. Instead, Muren pushed for stop-motion, citing the influence of King Kong and the realization that the staccato look of stop-motion would be appropriate for machines. Models were manipulated a frame at a time, animated in front of painted backgrounds instead of blue screen, with baking soda was used in place of snow.

It was shot at 24 frames per second, resulting in about 5 seconds of footage per day of work. For explosions, high speed photography was used, and cutouts were used for background walkers.

One of the early ideas was to build an actual robot version that would walk on its own, but that would prove too costly and complicated. Muren, whose background was in stop-motion animation, pushed to have the sequence done using that technique — since the AT-ATs were machines anyway, the staccato look of stop-motion would be appropriate. So stop-motion models were built and manipulated in front of paintings, as opposed to blue screen, and baking soda was used for the snowy landscape. The set itself had trap doors so that animators could pop up, animate the model, go back down, and shoot a frame of film. Photo cutouts were used for walkers in the background, and smaller models were created to convey a sense of scale and depth in the shots.

Related Posts