Andor was laudedfor its grounded approach to Star Wars , tend on a physicality to its productionthat settle down the audiencein its grittier take on the Galax urceolata far , far away — which also mean a different approach to VFX that contrasted with the recent rise ofStagecraftand “ The bulk , ” the screen door - based setthat revolutionise productionon The Mandalorian . But there was n’t really an opposition to the tech from the Andor team .
“ In a staring man , we ’d be able to shoot location and shoot one-time school , and then we ’d utilise the mass when we want to use it . There are times when the mass would be really serious for us , but the engineering does n’t exist to do both , ” Tony Gilroy toldThe Hollywood Reporterlast September in the Wake Island of an internet debate about whether or not Andor ’s conclusion not to habituate the tech was somehow an knowing slight against the Star Wars productions that had come before it . “ Our system is altogether different . We shoot everything with the actor , and we ramp up out from there if we demand to build out . And those two systems , maybe there ’s somebody who ’s doing it , but economically , you ca n’t do [ both ] . So , mechanically , we were just like , ‘ We have to be a body-build show . ’ It was n’t a controversy , really . I see it get turned into a controversy the other daytime , but it ’s not like that at all . There are metre where we ’d make love to use it . It does some great things . ”
But at today ’s Andor VFX jury — featuring Visual Effects Supervisor Mohen Leo , Lucasfilm Visual Effects Producer TJ Falls , Special Effects Supervisor Richard Van Den Bergh , and ILM Visual Effects Supervisor Scott Pritchard — the team behind the show ’s VFX uncover one second making the series where at least some elements of Stagecraft ’s screen tech was in reality used : jut Coruscant outside the windows of Mon Mothma ’s embassy windows . The crew used one of Stagecraft ’s massive CRT screen to act the world outside Mon ’s window , bringing in VFX teams to specifically make a view that process being projected onto a screen that was then shoot by camera from inside the Embassy set .
Screenshot: Lucasfilm
TJ Falls specifically noted the purpose of Stagecraft in the Embassy as how the decision by Andor to use or not use Volume sets was never a philosophic debate for the show — it was plainly about flexibility , and what tech function best for each specific scenario . The Stagecraft screen was a better choice than simply using a green screen and repose in the VFX plates in post - product — giving the Embassy appropriate firing from the world outside its imaginary window , and give actors something to look at and feel part of the world was Stagecraft ’s strength .
This multi - disciplinary attack to yield on Andor — a collaboration repeatedly notice throughout the control panel — was vital to Gilroy ’s plan of attack of every aspect of yield ferment together to make the show ’s aesthetic feel real , and pointedly connected to the quality and look of films like Rogue One and A New Hope .
And it ’s an approach the VFX teams have honed as they work onAndor time of year 2 , currently on track to resign on Disney+ in Summer 2024 – an approach where every department , from costume to set pattern to VFX , join forces together as filmmakers rather than separate entity . If what little was show of Andor time of year 2 earlier at Celebration is any indication , then it ’s an approach that continues to pay up dividends .
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disneyFilmsIMAX filmsLUCASFILMRogue OneStar WarsTony Gilroy
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