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The rotary tracer technology is once again being used to realize lightsaber blades, but the technology has changed drastically since the 1980s. Now, the transcription machine technology is realized digitally, and the color and movement of the blade relies on computers rather than ink and paint.
In the early planning of the Star Wars storyline, lightsabers were not a weapon unique to the Jedi Order. In fact, they were fairly common, used by both vigilantes and Imperial soldiers. Later, George Lucas gave such weapons only to the Jedi in order to give the Order a unique feel and mystical quality. The technology for implementing lightsabers on the screen has changed over the years.
In the pre-digital era of the main trilogy, the crew used a variety of methods to create lightsaber effects both in reality (on set) and visually (in post-production). In one version, a motor-equipped hilt rotates a sword blade wrapped in reflective material. When lit, the blade does glow in front of the camera, but unlike what is seen in the finished film, it lacks the blurred and colored glow around the pure white blade. These blades are bulky, fragile, and require a power source for the miniature motor.
They are not ideal fighting weapons, and the light emitted is colorless and unstable - tilting them to the wrong angle can cause the blade to lose its shine completely before the camera's view. Most of the lightsaber brilliance seen in the classic trilogy is the result of the transtroker technique.
Many years ago, the process of placing transparencies on enlarged film frames and then depicting the necessary animation frame by frame was known as the transcriber technique. This animation was usually drawn on an animation frame, a transparent acetate sheet. Those animated frames are then shot as movie frames, one frame at a time, which visually overlap with the movie frames. Live actors use simple monochrome sticks, which makes the job of the transcendental motor painter easier.
When a sword needs to be turned on, two methods are used. A simple editing technique stops the camera so that a prop manager can replace the unlit sword (just a hilt) with a lit sword (a hilt with a blade inserted). When the film is played back, the blade magically appears.
Another method is that the actor has used a non-illuminated sword blade since the beginning, and the transcription motor painter will paint the illuminated blade. Since accurately drawing a glowing blade without a reference to the prop blade is a challenging task, the initial shot of the lightsaber being turned on is often cut to facilitate the replacement of the non-glowing prop with a weapon with a glowing blade.
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