Sure, there are TIE fighter chases, menacing droids and space prisons, but the real triumph of 'Andor's' Emmy-nominated VFX is making otherworldly environments feel down-to-Earth.
stone materials you might see in New York. Our buildings were in a variety of stone materials but not using metals to embellish them. And then using glass as a nice reflective surface.
“We had this idea to do a reflection shot for a while, just tracking [a luxury flying car] across the reflection and seeing it distort and wobble and then panning off that to a plaza. That took a long time to feel natural. Even before we started rendering, it took a long time to get the camera and the animation right, to make it feel correct and not too forced as an idea. But yeah, really happy with that shot.
“Working with the cinematography, the plate photography, we were very lucky to have some great [directors of photography] on the show who shot beautiful plates in some amazing locations around London and up in Scotland,” he says, noting the production was limited in its location options due to the pandemic. “When you have that material to work with, you’re off to a great start in terms of making something feel grounded.
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