'You just wanted it to disappear in the image.' Cinematographer Roger Deakins explains how he and director Sam Mendes pulled off a cinematic feat with 1917Movie
This was the environment for the production, which began after months of rehearsal and detailed blocking to create the illusion of a single take.follows the story of two British soldiers as they race across enemy territory on the front lines of World War I to deliver a message that could save the lives of 1,600 of their fellow servicemen.
One tricky sequence featured the pair crossing No Man's Land, which Mendes says involved "constantly changing the actors' relationship to the camera so you weren't simply following them from behind." Explains Deakins: "When we got on No Man's Land, it was like, 'OK, well, how do we work with the actors and choreograph the camera movement with the actors so you see details, and then you go from one character's close-up to another character?' And then you see them wide, and then you see what they're looking at. That was really interesting.
Deakins employed a trio of prototypes of ARRI's Alexa Mini LF, a lighter version of the company's large-format Alexa digital camera. To move the cameras, Deakins tested many rigs. "We tested everything we could think of and then whittled it down to basically four major systems," he says . The goal was to make sure that the camera followed the action but didn't draw attention to itself.
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