Interviews Andor – Season 2: Mohen Leo (Production VFX Supervisor), TJ Falls (Production VFX Producer) and Scott Pritchard (ILM VFX Supervisor) By Vincent Frei - 22/05/2025 In 2023, Mohen Leo (Production VFX Supervisor), TJ Falls (Production VFX Producer), and Scott Pritchard (ILM VFX Supervisor) offered an in-depth look at the visual effects of Andor’s first season. Now, the trio returns to share insights into their work on the second—and final—season of this critically acclaimed series. Tony Gilroy is known for his detailed approach to storytelling. Can you talk about how your collaboration with him evolved throughout the production of Andor? How does he influence the VFX decisions and the overall tone of the series? Mohen Leo (ML): Our history with Tony, from Rogue One through the first season of Andor, had built a strong foundation of mutual trust. For Season 2, he involved VFX from the earliest story discussions, sharing outlines and inviting our ideas for key sequences. His priority is always to keep the show feeling grounded, ensuring that visual effects serve the story’s core and never become extraneous spectacle that might distract from the narrative. TJ Falls (TJ): Tony is a master storyteller. As Mohen mentioned, we have a great history with Tony from Rogue One and through Season 1 of Andor. We had a great rapport with Tony, and he had implicit trust in us. We began prepping Season 2 while we were in post for Season 1. We were having ongoing conversations with Tony and Production Designer Luke Hull as we were completing work for S1 and planning out how we would progress into Season 2. We wanted to keep the show grounded and gritty while amping up the action and urgency. Tony had a lot of story to cover in 12 episodes. The time jumps between the story arcs were something we discussed early on, and the need to be able to not only justify the time jumps but also to provide the audience with a visual bridge to tell the stories that happened off-screen. Tony would look to us to guide and use our institutional knowledge of Star Wars to help keep him honest within the universe. He, similarly, challenged us to maintain our focus and ensure that the visual tone of the series serviced the story. Tony Gilroy and Genevieve O’Reilly on the set of Lucasfilm’s ANDOR Season 2, exclusively on Disney+. Photo by Des Willie. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved. As you’ve returned for Season 2, have there been any significant changes or new challenges compared to the first season? How has the production evolved in terms of VFX and storytelling? (ML): The return of nearly all key creatives from Season 1, both internally and at our VFX vendors, was a massive advantage. This continuity built immediate trust and an efficient shorthand. It made everyone comfortable to be more ambitious, allowing us to significantly expand the scope and complexity of the visual effects for Season 2. (TJ): We had all new directors this season. The rest of the core creative and production teams stayed consistent from Season 1. We worked to keep the creative process as seamless from Season 1 as we could while working with the new directors and adapting to their process while incorporating their individual skills and ideas that they brought to the table. This season we were able to work on location much more than on Season 1. That provided us with a great opportunity to build out the connective tissue between real world constraints and the virtual world we were creating. In the case with Senate Plaza in Coruscant we also had to stay consistent with what has previously been established, so that was a fun challenge. How did you go about dividing the workload between the various VFX studios? (ML): I can give an answer, but probably better if TJ does. (TJ): We were very specific about how we divided the work on this series. We started, as we usually do, with a detailed breakdown of work for the 12 episodes. Mohen and I then discussed a logical split based on type of work, specific elements, and areas of commonality for particular environments. While cost is always a consideration, we focused our vendor casting around the creative strengths of the studios we were partnering with on the project. ILM is in the DNA of Star Wars, so we knew we’d want to be working with them on some of the most complex work. We chose ILM for the opening TIE Avenger hangar sequence and subsequent escape. We utilized ILM for work in every episode, including the CG KX/K2 work, but their main focus was on Coruscant, and they had substantial work in the ninth episode for the big Senate escape sequence. Hybride‘s chief focus was on Palmo Plaza and the Ghorman environments. They dealt with everything Ghorman on the ground from the street extensions and the truck crash, through the Ghorman massacre, sharing shots with ILM with the KX work. For Scanline VFX, we identified three primary areas of focus: the work on Mina Rau, Chandrila, and Yavin. The TIE Fighter sequence in Season 2 is a standout moment. Can you walk us through the VFX process for that particular sequence? What were some of the technical challenges you faced, and how did you work to make it as intense and realistic as possible? (TJ): This is a sequence I’m particularly proud of as VFX played a central role in the sequence coming together from start to finish. We were intimately involved from the initial conversations of the idea for the sequence. Mohen created digital storyboards and we pitched ideas for the sequence to Tony Gilroy. Once we had a sense of the creative brief, we started working with Luke Hull (Production Designer) and the art department on the physical hangar set and brought it into previz for virtual scouting. With Jen Kitching (our Previz Supervisor from The Third Floor) we had a virtual camera set up that allowed us to virtually use the camera and lenses we would have on our shoot. We blocked out shots with Ariel Kleiman (Director) and Christophe Nuyens (the DoP). This went back through previz and techviz so we could meticulously chart out our plan for the shoot. Keeping with our ethos of grounding everything in reality, we wanted to use as much of the practical set as possible. We needed to be sure our handoffs between physical and virtual were seamless – Luke Murphy, our SFX Supervisor, worked closely with us in planning elements and practical effects to be used on the day. Over the course of the shoot, we also had the challenge of the flashing red alarm that goes off once the TIE Avenger crashes into the ceiling. We established the look of the red alarm with Christophe and the lighting team, and then needed to work out the timing. For that, we collaborated with editor John Gilroy to ensure we knew precisely when each alarm beat would flash. Once we had all the pieces, we turned the sequence over to Scott Pritchard and ILM to execute the work. Scott Pritchard (SP): This sequence was split between our London and Vancouver studios, with London taking everything inside the hangar, and Vancouver handling the exterior shots after Cassian blasts through the hangar door. We started from a strong foundation thanks to two factors: the amazing hangar set and TIE Avenger prop; and having full sequence previs. The hangar set was built about 2/3 of its overall length (as much as could be built on the soundstage), which our environments team extended, adding the hangar doors at the end and also a view to the exterior environment. Extending the hangar was most of the work in the sequence up until the TIE starts moving, where we switched to our CG TIE. As with Season 1, we used a blend of physical SFX work for the pyro effects, augmenting with CG sparks. As TJ mentioned, the hangar’s red warning lighting was a challenge as it had to pulse in a regular tempo throughout the edit. Only the close-up shots of Cassian in the cockpit had practical red lighting, so complex lighting and comp work were required to achieve a consistent look throughout the sequence. ILM London’s compositing supervisor, Claudio Bassi, pitched the idea that as the TIE hit various sections of the ceiling, it would knock out the ceiling lights, progressively darkening the hangar. It was a great motif that helped heighten the tension as we get towards the moment where Cassian faces the range trooper. Once we cut to outside the hangar, ILM Vancouver took the reins. The exterior weather conditions were briefed to us as ‘polar night’ – it’s never entirely dark, instead there’s a consistent low-level ambient light. This was a challenge as we had to consider the overall tonal range of each shot and make sure there was enough contrast to guide the viewer’s eye to where it needed to be, not just on individual shots but looking at eye-trace as one shot cut to another. A key moment is when Cassian fires rockets into an ice arch, leading to its collapse. The ice could very easily look like rock, so we needed to see the light from the rocket’s explosions scattered inside the ice. It required detailed work in both lighting and comp to get to the right look. Again, as the ice arch starts to collapse and the two chase TIE Advanced ships get taken out, it needed careful balancing work to make sure viewers could read the situation and the action in each shot. The world-building in Andor is impressive, especially with iconic locations like Coruscant and Yavin. How did you approach creating these environments and ensuring they felt as authentic as possible to the Star Wars universe? (ML): Our approach to world-building in Andor relied on a close collaboration between the VFX team and Luke Hull, the production designer, along with his art department. This partnership was established in Season 1 and continued for Season 2. Having worked on many Star Wars projects over the decades, VFX was often able to provide inspiration and references for art department designs. For example, for locations like Yavin and Coruscant, VFX provided the art department with existing 3D assets: the Yavin temple model from Rogue One and the Coruscant city layout around the Senate from the Prequel films. The Coruscant model, in particular, involved some ‘digital archaeology.’ The data was stored on tapes from around 2001 and consisted of NURBS models in an older Softimage file format. To make them usable, we had to acquire old Softimage 2010 and XSI licenses, install them on a Windows 7 PC, and then convert the data to the FBX format that current software can read. Supplying these original layouts to the art department enabled them to create their new designs and integrate our real-world shooting locations while maintaining consistency with the worlds seen in previous Star Wars productions. Given that Andor is set approximately twenty years after the Prequels, we also had the opportunity to update and adjust layouts and designs to reflect that time difference and realize the specific creative vision Luke Hull and Tony Gilroy had for the show. StageCraft technology is a huge part of the production. How did you use it to bring these complex environments, like Coruscant and Yavin, to life? What are the main benefits and limitations of using StageCraft for these settings? (SP): Our use of StageCraft for Season 2 was similar to that on Season 1. We used it to create the exterior views through the windows of the Safehouse on Coruscant. As with our work for the Chandrillan Embassy in Season 1, we created four different times of day/weather conditions. One key difference was that the foreground buildings were much closer to the Safehouse, so we devised three projection points (one for each room of the Safehouse), which would ensure that the perspective of the exterior was correct for each room. On set we retained a large amount of flexibility with our content. We had our own video feed from the unit cameras, and we were able to selectively isolate and grade sections of the city based on their view through the camera. Working in context like this meant that we could make any final tweaks while each shot was being set up and rehearsed. While we were shooting a scene set at night, the lighting team rigged a series of lights running above the windows that, when triggered, would flash in sequence, casting a moving light along the floor and walls of the set, as if from a moving car above. I thought we could use the LED wall to do something similar from below, catching highlights on the metal pipework that ran across the ceiling. During a break in shooting, I hatched a plan with colour operator Melissa Goddard, brain bar supervisor Ben Brown, and we came up with a moving rectangular section on the LED wall which matched the practical lights for speed, intensity and colour temperature. We set up two buttons on our iPad to trigger the ‘light’ to move in either direction. We demoed the idea to the DP after lunch, who loved it, and so when it came to shoot, he could either call from a car above from the practical lights, or a car below from the LEDs. (ML): Just to clarify – the Coruscant Safehouse set was the only application of Stagecraft LED screens in Season 2. All other Coruscant scenes relied on urban location photography or stage sets with traditional blue screen extensions. The various Yavin locations were achieved primarily with large backlot sets at Longcross Studios. A huge set of the airfield, temple entrance and partial temple interior was extended by Scanline VFX, led by Sue Rowe, in post, creating the iconic temple exterior from A New Hope. VFX also added flying and parked spaceships, and augmented the surrounding forest to feel more tropical. Andor blends CG with actual real-world locations. Can you share how you balanced these two elements, especially when creating large-scale environments or specific landscapes that felt grounded in reality? (SP): A great example of this is the environment around the Senate. The plates for this were shot in the City of Arts & Sciences in Valencia. Blending the distinctive Calatrava architecture with well-known Star Wars buildings like the Senate was an amazing challenge, it wasn’t immediately clear how the two could sit alongside each other. Our Vancouver team, led by Tania Richard, did an incredible job taking motifs and details from the Valencia buildings and incorporating them into the Senate building on both large and small scales, but still contiguous with the overall Senate design. The production team was ingenious in how they used each of the Valencia buildings to represent many locations around the Senate and the surrounding areas. For example, the Science Museum was used for the walkway where Cassian shoots Kloris (Mon’s driver), the main entrance to the Senate, and the interior of the Senate Atrium (where Ghorman Senator Oran is arrested). It was a major challenge ensuring that all those locations were represented across the larger environment, so viewers understood the geography of the scene, but also blended with the design language of their immediate surroundings. Everything in the Senate Plaza had a purpose. When laying out the overall layout of the Plaza, we considered aspects such as how far Senators would realistically walk from their transports to the Senate entrance. When extending the Plaza beyond the extents of the City of Arts & Sciences, we used Calatrava architecture from elsewhere. The bridge just in front of the Senatorial Office Building is based on a Calatrava-designed bridge in my home city of Dublin. As we reach the furthest extents of the Senate Plaza, we begin blending in more traditional Coruscant architecture so as to soften the transition to the far background. Coruscant is such a pivotal location in Star Wars. How did you approach creating such a vast, densely populated urban environment? What were the key visual cues that made it feel alive and realistic? (ML): Our approach to Coruscant in Season 2 built upon what we established in the first season: primarily, shooting in real-world city locations whenever feasible. The stunning Calatrava architecture at Valencia’s City of Arts and Sciences, for instance, served as the foundation for the Senate exterior and other affluent districts. For the city’s grittier neighborhoods, we filmed in urban environments in London, like the Barbican and areas around Twickenham Stadium. Filming in these actual city locations provided a strong, realistic basis for the cinematography, lighting, and overall mood of each environment. This remained true even when VFX later modified large portions of the frame with Star Wars architecture. This methodology gave the director and DP confidence on set that their vision would carry through to the final shot. Our art department and VFX concept artists then created numerous paintovers based on plates and location photography, offering clear visual guides for transforming each real location into its Coruscant counterpart during post-production. For the broader cityscapes, we took direct inspiration from 3D street maps of cities such as Tokyo, New York, and Hong Kong. We would exaggerate the scale and replace existing buildings with our Coruscant designs while preserving the fundamental urban patterns. When it comes to creating environments like Yavin, which has a very natural, jungle-like aesthetic, how do you ensure the VFX stays true to the organic feel of the location while still maintaining the science-fiction elements of Star Wars? (ML): Nearly all of the Yavin jungle scenes were shot in a large wooded area that is part of Longcross Studios. The greens and art departments did an amazing job augmenting the natural forest with tropical plants and vines. The scenes featuring the two rebel factions in the clearing were captured almost entirely in-camera, with VFX primarily adding blaster fire, augmenting the crashed ship, and painting out equipment. Only the shots of the TIE Avenger landing and taking off, as well as the giant creature snatching the two rebels, featured significant CG elements. The key elements connecting these practical locations back to the Yavin established in A New Hope and Rogue One were the iconic temples. The establishing shots approaching the main temple in episode 7 utilized plate photography from South America, which had been shot for another Disney project but ultimately not used. Other aerial shots, such as the U-Wing flying above the jungle in episode 12, were fully computer-generated by ILM. K-2SO is a beloved character, and his return is highly anticipated. What can you tell us about the process of bringing him back to life with VFX in Season 2? What new challenges did this bring compared to his original appearance? (SP): We had already updated a regular KX droid for the scene on Niamos in Season 1, so much of the work to update the asset to the latest pipeline requirements had already been done. We now needed to switch over to the textures & shaders specific to K2, and give them the same updates. Unique to Series 2 was that there were a number of scenes involving both a practical and a digital K2 – when he gets crushed on Ghorman in episode 8, and then ‘rebooted’ on Yavin in episode 9. The practical props were a lot more beaten up than our hero asset, so we made bespoke variants to match the practical droid in each sequence. Additionally, for the reboot sequence on Yavin, we realised pretty quickly that the extreme movements meant that we were seeing into areas that previously had not required much detail – for instance, underneath his shoulder armour. We came up with a shoulder joint design that allowed for the required movement while also staying mechanically correct. When we next see him in Episode 10, a year has passed, and he is now the K-2SO as we know him from Rogue One. K-2SO has a unique design, particularly in his facial expressions and movement. How did you approach animating him for Season 2, and were there any specific changes or updates made to his character model or animation? (SP): Following Rogue One, Mohen made detailed records of the takeaways learned from creating K-2SO, and he kindly shared these notes with us early on in the show. They were incredibly helpful in tuning the fine details of the animation. Our animation team, led by Mathieu Vig, did a superb job of identifying the nuances of Alan’s performance and making sure they came across. There were plenty of pitfalls to avoid – for instance, the curve to his upper back meant that it was very easy for his neck to look hyperextended. We also had to be very careful with his eyes, as they’re sources of light, they could very easily look cartoonish if they moved around too much. Dialling in just the right amount of eye movement was crucial to a good performance. As the eyes also had several separate emissive and reflective components, they required delicate balancing in the comp on a per-shot basis. Luckily, we had great reference from Rogue One to be able to dial in the eyes to suit both the lighting of a shot but also its performance details. One Rogue One shot in particular, where he says ‘Your behavior, Jyn Erso, is continually unexpected’, was a particularly good reference for how we could balance the lights in his eyes to, in effect, enlarge his pupils, and give him a softer expression. K-2SO also represented my first opportunity to work with ILM’s new studio in Mumbai. Amongst other shots, they took on the ‘hallway fight’ sequence in Episode 12 where K2 dispatches Heert and his troopers, and they did a fantastic job from animation right through to final comp. K-2SO’s interactions with the live-action actors are key to his character. How did you work with the actors to ensure his presence felt as real and integrated as possible on screen, especially in terms of timing and reactions? (ML): Alan Tudyk truly defined K-2SO in Rogue One, so his return for Andor Season 2 was absolutely critical to us. He was on set for every one of K2’s shots, performing on stilts and in a performance capture suit. This approach was vital because it gave Alan complete ownership of the character’s physical performance and, crucially, allowed for spontaneous, genuine interactions with the other actors, particularly Diego Luna. Witnessing Alan and Diego reunite on camera was fantastic; that unique chemistry and humor we loved in Rogue One was instantly palpable. In post-production, our VFX animators then meticulously translated every nuance of Alan’s on-set performance to the digital K-2SO model. It’s a detailed process that still requires artistic expertise. For instance, K2’s facial structure is largely static, so direct translation of Alan’s facial expressions isn’t always possible. In these cases, our animators found creative solutions – translating a specific facial cue from Alan into a subtle head tilt or a particular eye movement for K2, always ensuring the final animation remained true to the intent and spirit of Alan’s original performance. Were there any memorable moments or scenes from the series that you found particularly rewarding or challenging to work on from a visual effects standpoint? (ML): The Plaza sequence in episode 8, which runs for about 23 minutes, stands out as particularly memorable – both for its challenges and its rewarding outcome. Just preparing for it was a daunting task. Its successful execution hinged on incredibly tight collaboration between numerous departments: stunts, creature effects, special effects, the camera department, our tireless greenscreens crew, and of course, VFX. The stunts team, under Marc Mailley, drove the choreography of all the action. Our On-Set VFX Supervisor, Marcus Dryden, was instrumental. He worked hand-in-glove with the director, DP, and assistant directors to ensure we meticulously captured all the necessary elements. This included everything from crowd replication plates and practical effects elements to the performances of stunt teams and creature actors, plus all the crucial on-set data. The shoot for this sequence alone took over three weeks. Hybride, under the leadership of Joseph Kasparian and Olivier Beaulieu, then completed the environments, added the blaster fire, and augmented the special effects in post-production, with ILM contributing the KX droids that wreak havoc in the plaza. (SP): I agree with Mohen here, for me the Ghorman Plaza episode is the most rewarding to have worked on. It required us to weave our work into that of so many other departments – stunts, sfx, costume – to name just a few. When we received the plates, to see the quality of the work that had gone into the photography alone was inspirational for me and the ILM crew. It’s gratifying to be part of a team where you know that everyone involved is on top of their game. And of course all that is underpinned by writing of that calibre from Tony Gilroy and his team – it just draws everything together. From a pure design viewpoint, I’m also very proud of the work that Tania Richard and her ILM Vancouver crew did for the Senate shots. As I mentioned before, it was a hugely challenging environment not just logistically, but also in bringing together two very distinctive architectural languages, and they made them work in tandem beautifully. Looking back on the project, what aspects of the visual effects are you most proud of? (TJ): I’m incredibly proud of this entire season. The seamless collaboration we had between Visual Effects and every other department made the work, while challenging, an absolute joy to execute. Almost all of the department heads returned from the first season, which provided a shorthand shortcut as we started the show with implicit trust and understanding of what we were looking to achieve. The work is beautiful, and the commitment of our crew and vendors has been unwavering. I’m most proud of the effort and care that each individual person contributed to the show and the fact that we went into the project with a common goal and were, as a team, able to showcase the vision that we, and Tony, had for the series. (ML): I’m really proud of the deep integration of the visual effects – not just visually, but fundamentally within the filmmaking process and storytelling. Tony invited VFX to be a key participant in shaping the story, from early story drafts through to the final color grade. Despite the scale and spectacle of many sequences, the VFX always feel purposeful, supporting the narrative and characters rather than distracting from them. This was significantly bolstered by the return of a large number of key creatives from Season 1, both within the production and at our VFX vendors. That shared experience and established understanding of Tony’s vision for Andor were invaluable in making the VFX an organic part of the show. (SP): I could not be prouder of the entire ILM team for everything they brought to their work on the show. Working across three sites, Andor was a truly global effort, and I particularly enjoyed how each site took complete ownership of their work. It was a privilege working with all of them and contributing to such an exceptional series. VFX progression frame Lucasfilm’s ANDOR Season 2, exclusively on Disney+. Photo courtesy of Lucasfilm. ©2025 Lucasfilm Ltd. & TM. All Rights Reserved. How long have you worked on this show? (TJ): This show has been an unbelievable journey. Season 2 alone was nearly 3 years. We wrapped Season 2 in January of 2025. We started prepping Season 2 in February 2022, while we were still in post for Season 1. I officially started working on Season 1 early in 2019 while it was still being developed. So that’s 6 years of time working on Andor. Mohen and I both also worked on Rogue One, so if you factor in the movie, which was shooting in 2015, that’s nearly ten years of work within this part of the Star Wars universe. (ML): I started on the project during early development in the summer of 2019 and finished in December of 2024. (SP): I started on Season 1 in September 2020 and finished up on Season 2 in December 2024. What’s the VFX shots count? (TJ): We had a grand total of 4,124 shots over the course of our 12 episodes. Outside of Industrial Light & Magic, which oversaw the show, we also partnered with Hybride, Scanline, Soho VFX, and Midas VFX. What is your next project? (TJ): You’ll have to wait and see! (SP): Unfortunately, I can’t say just yet either! A big thanks for your time. WANT TO KNOW MORE?ILM: Dedicated page about Andor – Season 2 on ILM website. © Vincent Frei – The Art of VFX – 2025