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When a razor sharp script collides with reality…..
㉿ #maythe4thbewithyou #andor #cinematic #cinematography #ultravista

Something extraordinary this way comes...

Check out the teaser trailer for one of the most anticipated television shows this year - Harry Potter and the Philosphers Stone! Among the DOPs on this show are Adriano Goldman ASC BSC ABC (@adrianogoldman) and Mark Patten BSC (@kiesh_dp), and among the operators working on the show is Tim Battersby Assoc BSC ACO (@iffy_headroom)

Christmas 2026 can't come fast enough!

#HarryPotter #Cinematography #Cinematographer

◉FirstLook
@amazonmgmstudios release first photos for the new Young Sherlock series. @hero_ft & @donal.finn join forces for the start of many adventures.
▶︎ linkin.bio
㉿ •••
#cinematic #cinematiclighting #cinematography #cinephile #dırectorofphotography

◉FirstLook
@amazonmgmstudios release first photos for the new Young Sherlock series. @hero_ft & @donal.finn join forces for the start of many adventures.
▶︎ linkin.bio
㉿ •••
#cinematic #cinematiclighting #cinematography #cinephile #dırectorofphotography

◉FirstLook
@amazonmgmstudios release first photos for the new Young Sherlock series. @hero_ft & @donal.finn join forces for the start of many adventures.
▶︎ linkin.bio
㉿ •••
#cinematic #cinematiclighting #cinematography #cinephile #dırectorofphotography

◉FirstLook
@amazonmgmstudios release first photos for the new Young Sherlock series. @hero_ft & @donal.finn join forces for the start of many adventures.
▶︎ linkin.bio
㉿ •••
#cinematic #cinematiclighting #cinematography #cinephile #dırectorofphotography

◉FirstLook
@amazonmgmstudios release first photos for the new Young Sherlock series. @hero_ft & @donal.finn join forces for the start of many adventures.
▶︎ linkin.bio
㉿ •••
#cinematic #cinematiclighting #cinematography #cinephile #dırectorofphotography

◉FirstLook
@amazonmgmstudios release first photos for the new Young Sherlock series. @hero_ft & @donal.finn join forces for the start of many adventures.
▶︎ linkin.bio
㉿ •••
#cinematic #cinematiclighting #cinematography #cinephile #dırectorofphotography

◉FirstLook
@amazonmgmstudios release first photos for the new Young Sherlock series. @hero_ft & @donal.finn join forces for the start of many adventures.
▶︎ linkin.bio
㉿ •••
#cinematic #cinematiclighting #cinematography #cinephile #dırectorofphotography

◉FirstLook
@amazonmgmstudios release first photos for the new Young Sherlock series. @hero_ft & @donal.finn join forces for the start of many adventures.
▶︎ linkin.bio
㉿ •••
#cinematic #cinematiclighting #cinematography #cinephile #dırectorofphotography

◉FirstLook
@amazonmgmstudios release first photos for the new Young Sherlock series. @hero_ft & @donal.finn join forces for the start of many adventures.
▶︎ linkin.bio
㉿ •••
#cinematic #cinematiclighting #cinematography #cinephile #dırectorofphotography

◉FirstLook
@amazonmgmstudios release first photos for the new Young Sherlock series. @hero_ft & @donal.finn join forces for the start of many adventures.
▶︎ linkin.bio
㉿ •••
#cinematic #cinematiclighting #cinematography #cinephile #dırectorofphotography

◉FirstLook
@amazonmgmstudios release first photos for the new Young Sherlock series. @hero_ft & @donal.finn join forces for the start of many adventures.
▶︎ linkin.bio
㉿ •••
#cinematic #cinematiclighting #cinematography #cinephile #dırectorofphotography

◉FirstLook
@amazonmgmstudios release first photos for the new Young Sherlock series. @hero_ft & @donal.finn join forces for the start of many adventures.
▶︎ linkin.bio
㉿ •••
#cinematic #cinematiclighting #cinematography #cinephile #dırectorofphotography

◉FirstLook
@amazonmgmstudios release first photos for the new Young Sherlock series. @hero_ft & @donal.finn join forces for the start of many adventures.
▶︎ linkin.bio
㉿ •••
#cinematic #cinematiclighting #cinematography #cinephile #dırectorofphotography

Looking for something to watch when you get home tonight? Make sure to tune into the brand new Amazon Prime series Young Sherlock featuring the Cinematography of Mark Patten BSC (@kiesh_dp). The series follows the adventures ofa 19-year-old, "unfiltered" Sherlock Holmes (Hero Fiennes Tiffin) at Oxford University. After being framed for murder, he navigates a global conspiracy and befriends future nemesis James Moriarty.

Joining Mark on this epic series is Sean Savage Assoc BSC ACO (A-Camera), Dave Hamilton-Green Assoc BSC (B-Camera and Steadicam) and James Layton Assoc BSC ACO (B-Camera and Steadicam on the earlier episodes). @seancamop @hamiltongreendave and @lowenbergfilmsltd.

#YoungSherlock #Cinematographer #Cinematography #DOP #HeroFiennesTiffin

Big shout out to goldcrest_films ‘Young Sherlock’ - Available to stream on @primevideo
Colour, Picture Post, ADR & VFX at @goldcrest_films
Showrunner: @matthewparkhil|9008
Directors: @guyritchie | Anders Engstrom | @tricia.brock
Cinematographers: @kiesh_dp | @oliverloncraine
Post Producers: Nina Khan | Clare Maclean
Post Supervisor: Sarah Irvine
Post Coordinator: Izzy Stirk
Senior Colourists: Adam Glasman | Maria Chamberlain
Colourist: @finlayreid_colour
Thank you for your amazing input to final colour.
@motivepictures_Itd | @primevideouk | @primevideo | @amazonmgmstudios

Big shout out to goldcrest_films ‘Young Sherlock’ - Available to stream on @primevideo
Colour, Picture Post, ADR & VFX at @goldcrest_films
Showrunner: @matthewparkhil|9008
Directors: @guyritchie | Anders Engstrom | @tricia.brock
Cinematographers: @kiesh_dp | @oliverloncraine
Post Producers: Nina Khan | Clare Maclean
Post Supervisor: Sarah Irvine
Post Coordinator: Izzy Stirk
Senior Colourists: Adam Glasman | Maria Chamberlain
Colourist: @finlayreid_colour
Thank you for your amazing input to final colour.
@motivepictures_Itd | @primevideouk | @primevideo | @amazonmgmstudios

Big shout out to goldcrest_films ‘Young Sherlock’ - Available to stream on @primevideo
Colour, Picture Post, ADR & VFX at @goldcrest_films
Showrunner: @matthewparkhil|9008
Directors: @guyritchie | Anders Engstrom | @tricia.brock
Cinematographers: @kiesh_dp | @oliverloncraine
Post Producers: Nina Khan | Clare Maclean
Post Supervisor: Sarah Irvine
Post Coordinator: Izzy Stirk
Senior Colourists: Adam Glasman | Maria Chamberlain
Colourist: @finlayreid_colour
Thank you for your amazing input to final colour.
@motivepictures_Itd | @primevideouk | @primevideo | @amazonmgmstudios

Big shout out to goldcrest_films ‘Young Sherlock’ - Available to stream on @primevideo
Colour, Picture Post, ADR & VFX at @goldcrest_films
Showrunner: @matthewparkhil|9008
Directors: @guyritchie | Anders Engstrom | @tricia.brock
Cinematographers: @kiesh_dp | @oliverloncraine
Post Producers: Nina Khan | Clare Maclean
Post Supervisor: Sarah Irvine
Post Coordinator: Izzy Stirk
Senior Colourists: Adam Glasman | Maria Chamberlain
Colourist: @finlayreid_colour
Thank you for your amazing input to final colour.
@motivepictures_Itd | @primevideouk | @primevideo | @amazonmgmstudios

Big shout out to goldcrest_films ‘Young Sherlock’ - Available to stream on @primevideo
Colour, Picture Post, ADR & VFX at @goldcrest_films
Showrunner: @matthewparkhil|9008
Directors: @guyritchie | Anders Engstrom | @tricia.brock
Cinematographers: @kiesh_dp | @oliverloncraine
Post Producers: Nina Khan | Clare Maclean
Post Supervisor: Sarah Irvine
Post Coordinator: Izzy Stirk
Senior Colourists: Adam Glasman | Maria Chamberlain
Colourist: @finlayreid_colour
Thank you for your amazing input to final colour.
@motivepictures_Itd | @primevideouk | @primevideo | @amazonmgmstudios

Big shout out to goldcrest_films ‘Young Sherlock’ - Available to stream on @primevideo
Colour, Picture Post, ADR & VFX at @goldcrest_films
Showrunner: @matthewparkhil|9008
Directors: @guyritchie | Anders Engstrom | @tricia.brock
Cinematographers: @kiesh_dp | @oliverloncraine
Post Producers: Nina Khan | Clare Maclean
Post Supervisor: Sarah Irvine
Post Coordinator: Izzy Stirk
Senior Colourists: Adam Glasman | Maria Chamberlain
Colourist: @finlayreid_colour
Thank you for your amazing input to final colour.
@motivepictures_Itd | @primevideouk | @primevideo | @amazonmgmstudios

Big shout out to goldcrest_films ‘Young Sherlock’ - Available to stream on @primevideo
Colour, Picture Post, ADR & VFX at @goldcrest_films
Showrunner: @matthewparkhil|9008
Directors: @guyritchie | Anders Engstrom | @tricia.brock
Cinematographers: @kiesh_dp | @oliverloncraine
Post Producers: Nina Khan | Clare Maclean
Post Supervisor: Sarah Irvine
Post Coordinator: Izzy Stirk
Senior Colourists: Adam Glasman | Maria Chamberlain
Colourist: @finlayreid_colour
Thank you for your amazing input to final colour.
@motivepictures_Itd | @primevideouk | @primevideo | @amazonmgmstudios

Big shout out to goldcrest_films ‘Young Sherlock’ - Available to stream on @primevideo
Colour, Picture Post, ADR & VFX at @goldcrest_films
Showrunner: @matthewparkhil|9008
Directors: @guyritchie | Anders Engstrom | @tricia.brock
Cinematographers: @kiesh_dp | @oliverloncraine
Post Producers: Nina Khan | Clare Maclean
Post Supervisor: Sarah Irvine
Post Coordinator: Izzy Stirk
Senior Colourists: Adam Glasman | Maria Chamberlain
Colourist: @finlayreid_colour
Thank you for your amazing input to final colour.
@motivepictures_Itd | @primevideouk | @primevideo | @amazonmgmstudios

Big shout out to goldcrest_films ‘Young Sherlock’ - Available to stream on @primevideo
Colour, Picture Post, ADR & VFX at @goldcrest_films
Showrunner: @matthewparkhil|9008
Directors: @guyritchie | Anders Engstrom | @tricia.brock
Cinematographers: @kiesh_dp | @oliverloncraine
Post Producers: Nina Khan | Clare Maclean
Post Supervisor: Sarah Irvine
Post Coordinator: Izzy Stirk
Senior Colourists: Adam Glasman | Maria Chamberlain
Colourist: @finlayreid_colour
Thank you for your amazing input to final colour.
@motivepictures_Itd | @primevideouk | @primevideo | @amazonmgmstudios

Big shout out to goldcrest_films ‘Young Sherlock’ - Available to stream on @primevideo
Colour, Picture Post, ADR & VFX at @goldcrest_films
Showrunner: @matthewparkhil|9008
Directors: @guyritchie | Anders Engstrom | @tricia.brock
Cinematographers: @kiesh_dp | @oliverloncraine
Post Producers: Nina Khan | Clare Maclean
Post Supervisor: Sarah Irvine
Post Coordinator: Izzy Stirk
Senior Colourists: Adam Glasman | Maria Chamberlain
Colourist: @finlayreid_colour
Thank you for your amazing input to final colour.
@motivepictures_Itd | @primevideouk | @primevideo | @amazonmgmstudios

➤ YOUNG SHERLOCK

Official Trailer from @amazonmgmstudios. Season1 airs 4th March on @amazonprime.

Thank you to the Directors: @guyritchie, andersengstöm & @tricia.brock. Show Runner @matthewparkhill9008, Production Designer TomBurton, Costume Designer @janytemimecostumedesigner.

㉿ •••
#cinematography #directorofphotography #panavision #sony #youngsherlock

★ Teaser Trailer Young Sherlock
First look at the new series from Director @guyritchie, YOUNG SHERLOCK with @hero_ft @donal.finn & @zinetseng the start of many adventures ♥︎♥︎♥︎

㉿ •••
#cinematography #directorofphotography #panavision #sony

Congratulations to the teams who won at the 2025 Creative Emmy’s Ⓡ

To @Luke_e_hull, @michaelwilkinson @yanmiles & mohenleo and to all the artists and producers, congratulations, it was an honour to be involved in such a rewarding project.


☫ ANDOR s2 ☫
- - -
▶︎ 4 Emmy Ⓡ Winners

▶︎ For all good revolutions

㉿ •••
#andor #cinematic #cinematiclighting #cinematography #cinephile #colorgrading #directorofphotography #filming #filmlighting #filmmaking #filmsetlife #panavision #sony

Congratulations to the teams who won at the 2025 Creative Emmy’s Ⓡ

To @Luke_e_hull, @michaelwilkinson @yanmiles & mohenleo and to all the artists and producers, congratulations, it was an honour to be involved in such a rewarding project.


☫ ANDOR s2 ☫
- - -
▶︎ 4 Emmy Ⓡ Winners

▶︎ For all good revolutions

㉿ •••
#andor #cinematic #cinematiclighting #cinematography #cinephile #colorgrading #directorofphotography #filming #filmlighting #filmmaking #filmsetlife #panavision #sony

Congratulations to the teams who won at the 2025 Creative Emmy’s Ⓡ

To @Luke_e_hull, @michaelwilkinson @yanmiles & mohenleo and to all the artists and producers, congratulations, it was an honour to be involved in such a rewarding project.


☫ ANDOR s2 ☫
- - -
▶︎ 4 Emmy Ⓡ Winners

▶︎ For all good revolutions

㉿ •••
#andor #cinematic #cinematiclighting #cinematography #cinephile #colorgrading #directorofphotography #filming #filmlighting #filmmaking #filmsetlife #panavision #sony

Congratulations to the teams who won at the 2025 Creative Emmy’s Ⓡ

To @Luke_e_hull, @michaelwilkinson @yanmiles & mohenleo and to all the artists and producers, congratulations, it was an honour to be involved in such a rewarding project.


☫ ANDOR s2 ☫
- - -
▶︎ 4 Emmy Ⓡ Winners

▶︎ For all good revolutions

㉿ •••
#andor #cinematic #cinematiclighting #cinematography #cinephile #colorgrading #directorofphotography #filming #filmlighting #filmmaking #filmsetlife #panavision #sony

The Television Academy’s 2025 Primetime Emmy nominations have been announced. Congratulations to all the nominees for Andor s2. It was an honour to work with such talent, and a true representation of collaboration. Thank you.

☫ ANDOR s2 ☫
- - -
▶︎ 14 Emmy Ⓡ Nominations

▶︎ For all good revolutions
㉿ •••
#andor #cinematic #cinematiclighting #cinematography #cinephile #colorgrading #directorofphotography #filming #filmlighting #filmmaking #filmsetlife #panavision #sony
#andor #cinematic #cinematiclighting #cinematography #cinephile #colorgrading #directorofphotography #filming #filmlighting #filmmaking #filmsetlife #panavision #sony

Indiewire Deep Dive presented by @disneyplus
☫ ANDOR s2 ☫
- - -
▶︎ Cinematographer Mark Patten and director Janus Metz break down the cinematic influence of “The Battle of Algiers” on the pivotal Ghorman Massacre in @andorofficial Season 2. Go inside one of the biggest builds in TV history.

▶︎ Crafting Cultures, World-Building, and Story All At Once

▶︎ Full interview linkin.bio

㉿ •••
#starwars #andor #cinematic #cinematiclighting #cinematography #cinephile #colorgrading #directorofphotography #filming #filmlighting #filmmaking #filmsetlife #panavision #sony

ASC Clubhouse Conversations
☫ ANDOR s2 ☫
- - -
▶︎ @the__asc host a ‘round table’ moderated by @pcadyasc with DP’s Christophe Nuyens, Damian Garcia & Mark Patten to discuss the cinematography of Andor s2.

▶︎ “Remember that the frontier of the Rebellion is everywhere. And even the smallest act of insurrection pushes our lines forward.”
— Karis Nemik

▶︎ Full interview linkin.bio

㉿ •••
#starwars #andor #cinematic #cinematiclighting #cinematography #cinephile #colorgrading #directorofphotography #filming #filmlighting #filmmaking #filmsetlife #panavision #sony

“It's extraordinary being on a show like #StarWars because the scale of the departments is so huge,” says Mark Patten BSC (@kiesh_dp), who served as #cinematographer for #Andor Season 2 episodes 207-209. “You just go into another realm of filmmaking. It's its own galaxy, and yet, at the crux of it is a story centered around this one individual who carries this narrative across the galaxy. The naturalism and the fact that it is a story about people, I think that's key. We might be in these amazing sets, but it's the humanity that really gels the narrative. To be involved in that and to dive into the construct of these worlds was an immense honor.”

#Panavision recently caught up with Mark Patten BSC and his fellow @andorofficial Season 2 cinematographers Christophe Nuyens SBC (@christophenuyens) – ep 201-206, and Dámian García (ep 210-212) for a roundtable conversation about the series’ visuals.

Nuyens shares, “I thought for Season 2, we should go full frame. That was one thing to bridge the gap with Rogue One, and that’s why I went searching for the #UltraVistas. I saw test shots from those lenses several years ago, and they looked so beautiful. I still remembered them, and #Panavision was able to get us the four sets we needed. You have to get to know these lenses, but once you do, they have such a nice patina, which I was looking for. I don’t see how a show like this could be shot on clean, clinical lenses.”

García adds, “We always tried to be very attached to the ground. The camera could only be in places where it actually could be, and the shot is only what you really see if you are there. In those amazing sets that [production designer and executive producer] Luke Hull (@luke_e_hull) did, we always tried to keep the camera within the set so you can feel that reality and that truthfulness. It feels like a spy film that happens in the Star Wars universe, but it could happen in any other universe. I think that, for me, is the key of the show.”

“It's extraordinary being on a show like #StarWars because the scale of the departments is so huge,” says Mark Patten BSC (@kiesh_dp), who served as #cinematographer for #Andor Season 2 episodes 207-209. “You just go into another realm of filmmaking. It's its own galaxy, and yet, at the crux of it is a story centered around this one individual who carries this narrative across the galaxy. The naturalism and the fact that it is a story about people, I think that's key. We might be in these amazing sets, but it's the humanity that really gels the narrative. To be involved in that and to dive into the construct of these worlds was an immense honor.”

#Panavision recently caught up with Mark Patten BSC and his fellow @andorofficial Season 2 cinematographers Christophe Nuyens SBC (@christophenuyens) – ep 201-206, and Dámian García (ep 210-212) for a roundtable conversation about the series’ visuals.

Nuyens shares, “I thought for Season 2, we should go full frame. That was one thing to bridge the gap with Rogue One, and that’s why I went searching for the #UltraVistas. I saw test shots from those lenses several years ago, and they looked so beautiful. I still remembered them, and #Panavision was able to get us the four sets we needed. You have to get to know these lenses, but once you do, they have such a nice patina, which I was looking for. I don’t see how a show like this could be shot on clean, clinical lenses.”

García adds, “We always tried to be very attached to the ground. The camera could only be in places where it actually could be, and the shot is only what you really see if you are there. In those amazing sets that [production designer and executive producer] Luke Hull (@luke_e_hull) did, we always tried to keep the camera within the set so you can feel that reality and that truthfulness. It feels like a spy film that happens in the Star Wars universe, but it could happen in any other universe. I think that, for me, is the key of the show.”

“It's extraordinary being on a show like #StarWars because the scale of the departments is so huge,” says Mark Patten BSC (@kiesh_dp), who served as #cinematographer for #Andor Season 2 episodes 207-209. “You just go into another realm of filmmaking. It's its own galaxy, and yet, at the crux of it is a story centered around this one individual who carries this narrative across the galaxy. The naturalism and the fact that it is a story about people, I think that's key. We might be in these amazing sets, but it's the humanity that really gels the narrative. To be involved in that and to dive into the construct of these worlds was an immense honor.”

#Panavision recently caught up with Mark Patten BSC and his fellow @andorofficial Season 2 cinematographers Christophe Nuyens SBC (@christophenuyens) – ep 201-206, and Dámian García (ep 210-212) for a roundtable conversation about the series’ visuals.

Nuyens shares, “I thought for Season 2, we should go full frame. That was one thing to bridge the gap with Rogue One, and that’s why I went searching for the #UltraVistas. I saw test shots from those lenses several years ago, and they looked so beautiful. I still remembered them, and #Panavision was able to get us the four sets we needed. You have to get to know these lenses, but once you do, they have such a nice patina, which I was looking for. I don’t see how a show like this could be shot on clean, clinical lenses.”

García adds, “We always tried to be very attached to the ground. The camera could only be in places where it actually could be, and the shot is only what you really see if you are there. In those amazing sets that [production designer and executive producer] Luke Hull (@luke_e_hull) did, we always tried to keep the camera within the set so you can feel that reality and that truthfulness. It feels like a spy film that happens in the Star Wars universe, but it could happen in any other universe. I think that, for me, is the key of the show.”

“It's extraordinary being on a show like #StarWars because the scale of the departments is so huge,” says Mark Patten BSC (@kiesh_dp), who served as #cinematographer for #Andor Season 2 episodes 207-209. “You just go into another realm of filmmaking. It's its own galaxy, and yet, at the crux of it is a story centered around this one individual who carries this narrative across the galaxy. The naturalism and the fact that it is a story about people, I think that's key. We might be in these amazing sets, but it's the humanity that really gels the narrative. To be involved in that and to dive into the construct of these worlds was an immense honor.”

#Panavision recently caught up with Mark Patten BSC and his fellow @andorofficial Season 2 cinematographers Christophe Nuyens SBC (@christophenuyens) – ep 201-206, and Dámian García (ep 210-212) for a roundtable conversation about the series’ visuals.

Nuyens shares, “I thought for Season 2, we should go full frame. That was one thing to bridge the gap with Rogue One, and that’s why I went searching for the #UltraVistas. I saw test shots from those lenses several years ago, and they looked so beautiful. I still remembered them, and #Panavision was able to get us the four sets we needed. You have to get to know these lenses, but once you do, they have such a nice patina, which I was looking for. I don’t see how a show like this could be shot on clean, clinical lenses.”

García adds, “We always tried to be very attached to the ground. The camera could only be in places where it actually could be, and the shot is only what you really see if you are there. In those amazing sets that [production designer and executive producer] Luke Hull (@luke_e_hull) did, we always tried to keep the camera within the set so you can feel that reality and that truthfulness. It feels like a spy film that happens in the Star Wars universe, but it could happen in any other universe. I think that, for me, is the key of the show.”

“It's extraordinary being on a show like #StarWars because the scale of the departments is so huge,” says Mark Patten BSC (@kiesh_dp), who served as #cinematographer for #Andor Season 2 episodes 207-209. “You just go into another realm of filmmaking. It's its own galaxy, and yet, at the crux of it is a story centered around this one individual who carries this narrative across the galaxy. The naturalism and the fact that it is a story about people, I think that's key. We might be in these amazing sets, but it's the humanity that really gels the narrative. To be involved in that and to dive into the construct of these worlds was an immense honor.”

#Panavision recently caught up with Mark Patten BSC and his fellow @andorofficial Season 2 cinematographers Christophe Nuyens SBC (@christophenuyens) – ep 201-206, and Dámian García (ep 210-212) for a roundtable conversation about the series’ visuals.

Nuyens shares, “I thought for Season 2, we should go full frame. That was one thing to bridge the gap with Rogue One, and that’s why I went searching for the #UltraVistas. I saw test shots from those lenses several years ago, and they looked so beautiful. I still remembered them, and #Panavision was able to get us the four sets we needed. You have to get to know these lenses, but once you do, they have such a nice patina, which I was looking for. I don’t see how a show like this could be shot on clean, clinical lenses.”

García adds, “We always tried to be very attached to the ground. The camera could only be in places where it actually could be, and the shot is only what you really see if you are there. In those amazing sets that [production designer and executive producer] Luke Hull (@luke_e_hull) did, we always tried to keep the camera within the set so you can feel that reality and that truthfulness. It feels like a spy film that happens in the Star Wars universe, but it could happen in any other universe. I think that, for me, is the key of the show.”

“It's extraordinary being on a show like #StarWars because the scale of the departments is so huge,” says Mark Patten BSC (@kiesh_dp), who served as #cinematographer for #Andor Season 2 episodes 207-209. “You just go into another realm of filmmaking. It's its own galaxy, and yet, at the crux of it is a story centered around this one individual who carries this narrative across the galaxy. The naturalism and the fact that it is a story about people, I think that's key. We might be in these amazing sets, but it's the humanity that really gels the narrative. To be involved in that and to dive into the construct of these worlds was an immense honor.”

#Panavision recently caught up with Mark Patten BSC and his fellow @andorofficial Season 2 cinematographers Christophe Nuyens SBC (@christophenuyens) – ep 201-206, and Dámian García (ep 210-212) for a roundtable conversation about the series’ visuals.

Nuyens shares, “I thought for Season 2, we should go full frame. That was one thing to bridge the gap with Rogue One, and that’s why I went searching for the #UltraVistas. I saw test shots from those lenses several years ago, and they looked so beautiful. I still remembered them, and #Panavision was able to get us the four sets we needed. You have to get to know these lenses, but once you do, they have such a nice patina, which I was looking for. I don’t see how a show like this could be shot on clean, clinical lenses.”

García adds, “We always tried to be very attached to the ground. The camera could only be in places where it actually could be, and the shot is only what you really see if you are there. In those amazing sets that [production designer and executive producer] Luke Hull (@luke_e_hull) did, we always tried to keep the camera within the set so you can feel that reality and that truthfulness. It feels like a spy film that happens in the Star Wars universe, but it could happen in any other universe. I think that, for me, is the key of the show.”

“It's extraordinary being on a show like #StarWars because the scale of the departments is so huge,” says Mark Patten BSC (@kiesh_dp), who served as #cinematographer for #Andor Season 2 episodes 207-209. “You just go into another realm of filmmaking. It's its own galaxy, and yet, at the crux of it is a story centered around this one individual who carries this narrative across the galaxy. The naturalism and the fact that it is a story about people, I think that's key. We might be in these amazing sets, but it's the humanity that really gels the narrative. To be involved in that and to dive into the construct of these worlds was an immense honor.”

#Panavision recently caught up with Mark Patten BSC and his fellow @andorofficial Season 2 cinematographers Christophe Nuyens SBC (@christophenuyens) – ep 201-206, and Dámian García (ep 210-212) for a roundtable conversation about the series’ visuals.

Nuyens shares, “I thought for Season 2, we should go full frame. That was one thing to bridge the gap with Rogue One, and that’s why I went searching for the #UltraVistas. I saw test shots from those lenses several years ago, and they looked so beautiful. I still remembered them, and #Panavision was able to get us the four sets we needed. You have to get to know these lenses, but once you do, they have such a nice patina, which I was looking for. I don’t see how a show like this could be shot on clean, clinical lenses.”

García adds, “We always tried to be very attached to the ground. The camera could only be in places where it actually could be, and the shot is only what you really see if you are there. In those amazing sets that [production designer and executive producer] Luke Hull (@luke_e_hull) did, we always tried to keep the camera within the set so you can feel that reality and that truthfulness. It feels like a spy film that happens in the Star Wars universe, but it could happen in any other universe. I think that, for me, is the key of the show.”

“It's extraordinary being on a show like #StarWars because the scale of the departments is so huge,” says Mark Patten BSC (@kiesh_dp), who served as #cinematographer for #Andor Season 2 episodes 207-209. “You just go into another realm of filmmaking. It's its own galaxy, and yet, at the crux of it is a story centered around this one individual who carries this narrative across the galaxy. The naturalism and the fact that it is a story about people, I think that's key. We might be in these amazing sets, but it's the humanity that really gels the narrative. To be involved in that and to dive into the construct of these worlds was an immense honor.”

#Panavision recently caught up with Mark Patten BSC and his fellow @andorofficial Season 2 cinematographers Christophe Nuyens SBC (@christophenuyens) – ep 201-206, and Dámian García (ep 210-212) for a roundtable conversation about the series’ visuals.

Nuyens shares, “I thought for Season 2, we should go full frame. That was one thing to bridge the gap with Rogue One, and that’s why I went searching for the #UltraVistas. I saw test shots from those lenses several years ago, and they looked so beautiful. I still remembered them, and #Panavision was able to get us the four sets we needed. You have to get to know these lenses, but once you do, they have such a nice patina, which I was looking for. I don’t see how a show like this could be shot on clean, clinical lenses.”

García adds, “We always tried to be very attached to the ground. The camera could only be in places where it actually could be, and the shot is only what you really see if you are there. In those amazing sets that [production designer and executive producer] Luke Hull (@luke_e_hull) did, we always tried to keep the camera within the set so you can feel that reality and that truthfulness. It feels like a spy film that happens in the Star Wars universe, but it could happen in any other universe. I think that, for me, is the key of the show.”

“It's extraordinary being on a show like #StarWars because the scale of the departments is so huge,” says Mark Patten BSC (@kiesh_dp), who served as #cinematographer for #Andor Season 2 episodes 207-209. “You just go into another realm of filmmaking. It's its own galaxy, and yet, at the crux of it is a story centered around this one individual who carries this narrative across the galaxy. The naturalism and the fact that it is a story about people, I think that's key. We might be in these amazing sets, but it's the humanity that really gels the narrative. To be involved in that and to dive into the construct of these worlds was an immense honor.”

#Panavision recently caught up with Mark Patten BSC and his fellow @andorofficial Season 2 cinematographers Christophe Nuyens SBC (@christophenuyens) – ep 201-206, and Dámian García (ep 210-212) for a roundtable conversation about the series’ visuals.

Nuyens shares, “I thought for Season 2, we should go full frame. That was one thing to bridge the gap with Rogue One, and that’s why I went searching for the #UltraVistas. I saw test shots from those lenses several years ago, and they looked so beautiful. I still remembered them, and #Panavision was able to get us the four sets we needed. You have to get to know these lenses, but once you do, they have such a nice patina, which I was looking for. I don’t see how a show like this could be shot on clean, clinical lenses.”

García adds, “We always tried to be very attached to the ground. The camera could only be in places where it actually could be, and the shot is only what you really see if you are there. In those amazing sets that [production designer and executive producer] Luke Hull (@luke_e_hull) did, we always tried to keep the camera within the set so you can feel that reality and that truthfulness. It feels like a spy film that happens in the Star Wars universe, but it could happen in any other universe. I think that, for me, is the key of the show.”

“It's extraordinary being on a show like #StarWars because the scale of the departments is so huge,” says Mark Patten BSC (@kiesh_dp), who served as #cinematographer for #Andor Season 2 episodes 207-209. “You just go into another realm of filmmaking. It's its own galaxy, and yet, at the crux of it is a story centered around this one individual who carries this narrative across the galaxy. The naturalism and the fact that it is a story about people, I think that's key. We might be in these amazing sets, but it's the humanity that really gels the narrative. To be involved in that and to dive into the construct of these worlds was an immense honor.”

#Panavision recently caught up with Mark Patten BSC and his fellow @andorofficial Season 2 cinematographers Christophe Nuyens SBC (@christophenuyens) – ep 201-206, and Dámian García (ep 210-212) for a roundtable conversation about the series’ visuals.

Nuyens shares, “I thought for Season 2, we should go full frame. That was one thing to bridge the gap with Rogue One, and that’s why I went searching for the #UltraVistas. I saw test shots from those lenses several years ago, and they looked so beautiful. I still remembered them, and #Panavision was able to get us the four sets we needed. You have to get to know these lenses, but once you do, they have such a nice patina, which I was looking for. I don’t see how a show like this could be shot on clean, clinical lenses.”

García adds, “We always tried to be very attached to the ground. The camera could only be in places where it actually could be, and the shot is only what you really see if you are there. In those amazing sets that [production designer and executive producer] Luke Hull (@luke_e_hull) did, we always tried to keep the camera within the set so you can feel that reality and that truthfulness. It feels like a spy film that happens in the Star Wars universe, but it could happen in any other universe. I think that, for me, is the key of the show.”