Andor praised for its grounded approach star Warsdepends on the material to produce it that attracted the public boldly set in the galaxy far, far away – which also means a different approach to visual effects that contrasts with the recent rise in stagecraft and “size”, the screen-based group that revolutionized production on The Mandalorian. But there was really no opposition to the technology from Andor a team.
“In a perfect world, we’d be able to shoot location and shoot old-school, and then we’d use audio when we want to use it. There are times when volume really works for us, but the technology isn’t there to do both,” said Tony Gilroy. Hollywood Reporter Last September in the wake of an Internet debate about whether AndorThe decision not to use the technology was in some way a deliberate insult against star Wars products that appeared before it. “Our system is very different. We shoot everything with actors, and we build from there if we need to build. And those two systems, maybe someone’s out there doing it, but economically, you can’t do (both). So, automatically, we were like, “We have to be a constructive show. ‘It wasn’t really controversial. I saw it turn into controversy the other day, but it’s not like that at all. There are times we like to use it. It does some great things.'”
But for the time being Andor The VFX panel — which includes Visual Effects Supervisor Mohen Liu, Lucasfilm Visual Effects Producer TJ Falls, Special Effects Supervisor Richard Van Den Bergh and ILM Visual Effects Supervisor Scott Pritchard — revealed the team behind the show’s visual effects the one moment that made the series where it is. the least some Elements of Stagecraft’s screen technology were actually used: projecting Coruscant out of the windows of Mon Mothma’s embassy. The crew used one of Stagecraft’s huge screens to represent the world outside Mon’s window, and brought in VFX teams to specifically create a scene that would be projected onto a screen that was then captured by cameras from inside the Embassy set.
TJ Falls specifically referred to the use of Stagecraft in The Embassy as Decision Making Andor Whether or not to use size groups has never been a philosophical debate for a show – it was simply about flexibility, and what technology worked best for each specific scenario. Stagecraft’s screen was a better option than just using a green screen and putting up VFX panels in post-production – giving the Embassy the right lighting from the world outside its imaginary window, and giving the actors something to look at and feel part of the world was Stagecraft’s strength.
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This multidisciplinary approach to production Andor –A collaboration noted again and again throughout the board – it was vital to Gilroy’s approach to every aspect of production and working together to make the show’s aesthetic feel real, clearly connected to the tone and feel of films like Rogue One And New hope.
It’s an approach that visual effects teams have honed as they work Andor Season 2, is currently on track for release on Disney+ in summer 2024 — an approach where every department, from costume to design to visual effects, will collaborate together as directors rather than as separate entities. If a little bit of it is shown Andor An earlier second season on Celebration is any indication—it’s an approach that continues to pay dividends.
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(tags to subtitles) Disney films