Stop-motion Death Star assembly with rotating interior reveal

Oct 17, 2026 Last reply: 1 day ago 2 Replies
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The idea behind this project is a good one: take a set tied to three films and fold the backgrounds of all of them into a single stop-motion assembly, made with children in mind. That ambition shows in how much of the station ends up on screen.



The build itself is the Lego Star Wars battle station, set number 75159, with 4016 pieces. The structure rises level by level on a circular foundation, and each interior chamber is put together with its own figures and mechanisms. The finished model has an open cross-section, so the stacked decks are all visible at once, from a superlaser control center and a hangar section to a trash compactor with moving walls and the Emperor's throne room. Figures like R2-D2 and a Luke Skywalker sit inside the chambers. The completed station then slowly turns on screen to show every compartment and turret, and a voiceover announces it is cleared to fire as the dish, filled with transparent green beam elements, is finished.



The sound work stands out to me. The track is '80s by Chill Carrier, layered with clips from the films and some comical dialogue, and the maker cut the music and effects to match a fixed video length. The morphing between frames comes from an algorithm that generates inbetweens on top of product photography, which gives the assembly its smooth, flowing look.



The honest open question is the morphing itself. The maker says it looks weird when a minifigure moves, and while a fix is known, it would take too much time, so an easier method is still being figured out. Given that the project took 60 hours or more and nearly ended the Lego hobby altogether, that hesitation seems fair. A three-day editing course is planned, and hopefully it helps.



Project by motiontroopers. Watch it on their YouTube channel:

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The choice to edit the music and sound effects to a fixed video length seems clever to me. It keeps the pacing tight even with this much content packed in, and pairing the '80s track with film clips and comical dialogue gives the whole thing a consistent tone. The trade-off, as the maker noted, is that hunting for the right audio consumed loads of time.

Here is a possible improvement for a future project: apply the known fix to the morphing effect only in the shots where a minifigure moves, and leave the algorithm-driven morphing everywhere else. That way the weird look disappears exactly where it is most noticeable, without the time cost of fixing every frame. It could also be a good test case for what the upcoming editing course teaches.

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