The last season of “Andor” required visual narrators to elaborate a stylized tapestry that reflected the underlying themes of each episode while unified the whole. “We treat every three episodes almost like a film and we gave them their own identity,” says photography director Christophe Nuyens, who photographed the first six episodes. In “Harvest”, the challenge was to balance the sources of lighting and the movement of the camera to link two very contrasting stories: the elaborate wedding of the leader of the Rebel Alliance, Mon Mothma, the daughter and storm storms in search of undocumented workers in Mina-Rau, which climate in a surprise death. “It was visually important that everything could like, so during the first three episodes, we decided to play in a more sunny environment,” he says. “Stormtrooper's scene was like a puzzle. We had to mix a practical location with a staged set and then all combat things also shot themselves in a stage.” On the scale was the use of the photography director of a large format and ultra view chamber. “It was important to use a great sensor, since it gives you the feeling and the reach almost as in 'Rogue One',” says Nuyens. “It was the biggest change we made this season and I think those lenses make it look really good.”
