In a captivating conversation, cinematographer Christophe Nuyens discusses his work on the first six episodes of Andor Season 2. Known for his naturalistic lighting and production collaboration, he reveals how he crafted unique visual identities for distinct worlds like the sunny Mina-rau and the moody Ghorman. He shares insights on using practical sets for authenticity, his philosophy of minimal camera movement, and how documentary experience shaped his storytelling. With a passion for evolving cinematography, Christophe offers a fascinating glimpse into bringing the Star Wars universe to life.
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insights INSIGHT
Technical Path To Visual Continuity
Christophe balanced Andor's look by moving from Venice anamorphic to full-frame monomorphics to gain scope toward Rogue One.
He stayed committed to naturalistic lighting to keep the series grounded between season one and Rogue One.
insights INSIGHT
Worlds With Distinct Visual Identities
Each planet in Andor received a distinct visual identity: Mina-rau sunny, Chandrila shiny and chic, Ghorman darker with blue light.
Christophe used these differing palettes to create discrete moods across worlds while maintaining series cohesion.
volunteer_activism ADVICE
Favor Practical Sets And In-Camera Effects
Whenever possible, build practical sets and shoot in-camera to preserve natural lighting and authentic interaction with light.
Combine practical builds with LED walls and VFX only when necessary to keep atmospherics like rain and reflections believable.
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The Cinematography Podcast Episode 313: Christophe Nuyens
A huge admirer of the Star Wars movie Rogue One, cinematographer Christophe Nuyens, SBC embraced the opportunity to serve as director of photography for the first six episodes of Andor Season 2. Christophe focused on expanding Andor's universe, meticulously crafting distinct visual identities for each world. He leaned into naturalistic lighting and a dynamic use of color to evoke a range of moods. “This show has so many different worlds and sets and every world has a different look,” he says. “Mina-rau was sunny, Chandrila was quite shiny and chic. Then you had Ghorman, which was darker and like a town in the mountains with blue light all the time. So we had all our different sets and it was really nice to play with those things to create all those little different moods.”
Christophe was committed to giving the world of Andor a tangible sense of reality. The sets were expansive, with ample room for the camera to move around and explore. Practical effects were used when possible to enhance authenticity, complemented by the strategic use of LED video wall panels for realistic backdrops, such as the depiction of rain falling outside a Coruscant apartment window. Christophe approached the lighting design as if shooting on location. In collaboration with director Ariel Kleiman, he adopted a philosophy of minimal camera movement, completing scenes with few shots and concise coverage. Subtle lighting cues, lens flares and camera moves smoothly transitioned each scene into the next.
One of the most memorable sequences in Andor Season 2 is the wedding of characters Leida Mothma and Stekan Sculdun. The event is not just a lavish affair but a crucial narrative beat in Mon Mothma's (Genevieve O’Reilly) journey, underpinning a complex emotional and political storyline. Following the ceremony, guests dance together in a huge celebration, a sequence that presented a unique and enjoyable challenge for Christophe. He wanted to capture a nightclub atmosphere despite the daytime setting. “I end up with the idea of trying to tell a time-lapse story light-wise,” he explains. “In the beginning of the wedding, the sun is quite high. It's bright outside the during the wedding. The sun is going lower and lower and lower, until the end when the sun is just on the horizon peeping inside and making it super flare-y. We didn't have strobes or party lights, but it gave us something special to play with.” The intricate dance sequence, featuring numerous extras and two Steadicams weaving through the celebration to reflect Mon Mothma's disorienting experience, required a full day of filming. (For dedicated Andor fans, an extended one-hour version of this captivating dance scene is available to watch on YouTube.)
Educated at film school in Brussels, Christophe knew early on that cinematography was his calling. He values continuous learning as a cinematographer. “It's important for me to keep evolving because the moment that I feel I'm doing something as a routine, then I want to do something else. I need to have the feeling that I'm learning every time and every director is different.”
Find Christophe Nuyens: Instagram: @christophenuyens
The Cinematography Podcast website: www.camnoir.com
YouTube: @TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Blue Sky: @thecinepod.bsky.social
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