The final season of “Euphoria” changed up its look considerably, shooting on both 35mm and 65mm film stock and using a super-wide aspect ratio. Series cinematographer Marcell Rév wanted a more classical Hollywood look in terms of eye-popping color and a vivid sense of environmental depth. Even a new Kodak film stock was created for this season alone.

That expansion of the show’s visual palette and widening of the frame influenced how “Euphoria” production designer François Audouy. He joined the series this season as only his second television project after “The Residence,” though he Audouy previously production-designed on James Mangold’s “Logan,” “Ford v Ferrari,” and “A Complete Unknown.”

During IndieWire’s recent Craft Roundtables sit-down with the year’s top television production designers, Audouy said, “The idea of opening up the frame created more of a kind of cinematic opportunity. The first season is very close, shot very close, and it’s very much a show that’s told through their faces, and the background falls off.”

As the series entered its second season, it’s “a little bit wider, and you get a sense of their school and their houses.”

As for Season 3, where the storytelling stretches far beyond inside a high school or its surrounding suburb and to the Mexico-U.S. border and beyond, “This was really [about] how they’re interacting and feeling and part of the surrounding environment. We wanted to feel like they were more part of the world and that the environments were part of the story.”

Watch in the video above.

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