Breaking Down the 1917 One-Shot — Roger Deakins Talks Camera, Lenses, Long Takes, and Cinematography

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Breaking Down the 1917 One-Shot — Roger Deakins Talks Camera, Lenses, Long Takes, and Cinematography

1917 One Shot Explained ►► https://bit.ly/deakins-oner Chapters: 0:00 Why Use a One Shot in 1917? 1:50 Camera Equipment — The ARRI Alexa Mini LF 2:42 Camera Movements — Immersion 3:13 Practical Lighting — Don't Be Afraid of the Dark 4:59 Recap — Cinematography Can Create a World 5:24 More Cinematography Techniques 5:39 Outro — What Defines Roger Deakins Cinematography? 1917 (2019) was famous before anyone ever saw it. When it was learned that director Sam Mendes and cinematographer Roger Deakins captured 1917 in one shot, it became one of the most anticipated movies of the year. But how did Roger Deakins pull off shooting 1917 as one giant long take? That’s what this video essay aims to do — we’ll look at 1917 behind the scenes footage and Roger Deakins cinematography techniques, including why he used the ARRI Alexa Mini LF camera. According to director Sam Mendes, for 1917 one shot was all he needed to create a gripping, real-time race against the clock. Roger Deakins was brought into the pre-production process early to work out camera rigs, storyboards, and just how to pull off a 1917 one shot movie. At least, that’s what it looks like. Even though the cuts are masterfully hidden, 1917 isn’t literally a one-shot movie but it certainly looks and feels like one. As we look at 1917 behind the scenes, we’ll look at Roger Deakins' cinematography techniques that he and Sam Mendes used to create an immersive experience. Filmmakers are always trying to find ways to bring the audience completely into the film and that’s what the 1917 filmmakers accomplished. Long takes are just the beginning of the 1917 cinematography plan — they also chose to stick with prime lenses that match the focal length of the human eye. In other words, the camera behaves and captures the events as close to how we would experience it in person. It’s no wonder that Roger Deakins won the Oscar for Best Cinematography. In filmmaking and cinematography terms, 1917 is a one-of-a-kind cinematic experience that every filmmaker will be learning from for years to come. #cinematography #1917film #filmmaking — Music by Artlist ► https://utm.io/umJx Music by MusicBed ► http://bit.ly/2Fnz9Zq — SUBSCRIBE to StudioBinder’s YouTube channel! ►► http://bit.ly/2hksYO0 Looking for a project management platform for your filmmaking? StudioBinder is an intuitive project management solution for video creatives; create shooting schedules, breakdowns, production calendars, shot lists, storyboards, call sheets and more. Try StudioBinder for FREE today: https://studiobinder.com/pricing — Join us on Social Media! — Instagram ►► https://www.instagram.com/studiobinder Facebook ►► https://www.facebook.com/studiobinderapp Twitter ►► https://www.twitter.com/studiobinder #film-theory, #video-essay, #filmmaker
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Breaking Down the 1917 One-Shot — Roger Deakins Talks Camera, Lenses, Long Takes, and Cinematography

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1917 One Shot Explained ►►

Chapters:
0:00 Why Use a One Shot in 1917?
1:50 Camera Equipment — The ARRI Alexa Mini LF
2:42 Camera Movements — Immersion
3:13 Practical Lighting — Don't Be Afraid of the Dark
4:59 Recap — Cinematography Can Create a World
5:24 More Cinematography Techniques
5:39 Outro — What Defines Roger Deakins Cinematography?

1917 (2019) was famous before anyone ever saw it. When it was learned that director Sam Mendes and cinematographer Roger Deakins captured 1917 in one shot, it became one of the most anticipated movies of the year. But how did Roger Deakins pull off shooting 1917 as one giant long take? That’s what this video essay aims to do — we’ll look at 1917 behind the scenes footage and Roger Deakins cinematography techniques, including why he used the ARRI Alexa Mini LF camera.

According to director Sam Mendes, for 1917 one shot was all he needed to create a gripping, real-time race against the clock. Roger Deakins was brought into the pre-production process early to work out camera rigs, storyboards, and just how to pull off a 1917 one shot movie. At least, that’s what it looks like. Even though the cuts are masterfully hidden, 1917 isn’t literally a one-shot movie but it certainly looks and feels like one.

As we look at 1917 behind the scenes, we’ll look at Roger Deakins' cinematography techniques that he and Sam Mendes used to create an immersive experience. Filmmakers are always trying to find ways to bring the audience completely into the film and that’s what the 1917 filmmakers accomplished. Long takes are just the beginning of the 1917 cinematography plan — they also chose to stick with prime lenses that match the focal length of the human eye. In other words, the camera behaves and captures the events as close to how we would experience it in person. It’s no wonder that Roger Deakins won the Oscar for Best Cinematography. In filmmaking and cinematography terms, 1917 is a one-of-a-kind cinematic experience that every filmmaker will be learning from for years to come.

#cinematography #1917film #filmmaking



Music by Artlist ►
Music by MusicBed ►



SUBSCRIBE to StudioBinder’s YouTube channel! ►►

Looking for a project management platform for your filmmaking? StudioBinder is an intuitive project management solution for video creatives; create shooting schedules, breakdowns, production calendars, shot lists, storyboards, call sheets and more.

Try StudioBinder for FREE today:

— Join us on Social Media! —

Instagram ►►
Facebook ►►
Twitter ►►

#film-theory, #video-essay, #filmmaker


Breaking Down the 1917 One-Shot — Roger Deakins Talks Camera, Lenses, Long Takes, and Cinematography

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