![]() ![]() I’m not making a comparison, but it seems to me that they had a very difficult task even if the Camera department achieve what they need. Also, as one of the YouTube commenters said:” Let’s give a Shout Out to the Boom Operators for their AMAZING job in this movie (Sound guys). Nevertheless, it’s a fascinating project that might be very educational to film schools. I’ll call it a technical film for the launch of the Mini LF. Credit: Jason Hall Wrapping up: Imitation than innovationĪs we said before, 1917 can be used as an example of cinematography imitation rather than innovation. 40mm lens (Signature Prime) on the ARRI Mini LF. ![]() In case you are eager to get professionally educated about the large format, you can get ARRI certified on-line training for its large-format camera system. Together with the Trinity, we can get adorable dynamic shots. Furthermore, the large sensor allows a large field of view, even in 40mm. That’s a fascinating piece of information since 40mm is defined as the natural focal length that mimics human vision. The rest was shot with the 35mm (basement scene) and 47mm (the river scenes). According to Deakins, the film was shot %99 with the 40mm Signature Prime. We do think that large sensor has a significant contribution to the film industry by allowing three characteristics: Shallower depth of filed, enhance camera movement and reduced distortion in closeups. To understand the advantages and characterizations of large sensors, check out our article, which deals with large format cinematography. Deakins elaborates on this in the video by saying that the main advantages of the Mini LF were two: shallower depth of field and the ability to use a longer lens on closeup (to avoid distortion of the face). This movie constitutes an excellent example of large-format look utilization. Let’s give a Shout Out to the Boom Operators for their AMAZING job in this movie YouTube commenter Implementing the large format look However, the Academy thought differently. In my opinion, 1917 is no more than one (too) long take paired with a shallow story. In one simple sentence – we didn’t like 1917 as much since it’s full of “Long Take” banal tricks that were implemented all over it. If you haven’t watched the movie yet, feel free to check out our review. Did they succeed? Well, head to our review to find out. However, Deakins emphasizes that they didn’t want this concept of long take will be presented as a gimmick. Credit: Jason HallĪccording to Deakin’s last video made by ARRI, he wanted that 1917 would be filmed as one continuous shot from the beginning since, in his opinion, it is the correct way to tell the story. The Trinity operator is the same operator that shot 1917, Charlie Rizek, which is an Israeli steady-cam operator. Head to this article that demonstrates an ARRI’s workshop dedicated to utilizing the ARRI Trinity for helping to reach precisely those long takes. The rest was shot with the 35mm (basement scene) and 47mm (the river scenes) Roger Deakins ASC, DP of 1917 The art of the Long Takeįurthermore, we covered here the process behind executing long takes from a cinematography and production perspectives. “1917” | Roger Deakins, ASC, BSC | Camera: ARRI ALEXA Mini LF.| Lens: Signature Primesġ917 was shot 99% with the 40mm Signature Prime. As stated by Roger Deakins at that time: “The image that the Mini LF and the Signature Primes produce seems, to me, more like what my eyes see than anything else I have experienced so far.” BTW, the project was shot in ARRIRAW (4.5K). The goal was to get those tremendous dramatic long shots by using the large-format look together with natural light to enhance realism. In 1917, Deakins utilized the ALEXA Mini LF together with the Signature Primes, and ARRI TRINITY camera stabilizer system (operated by Charlie Rizek). ![]() Roger Deakins CBE, ASC, BSC, was the first to receive a working prototype of the ALEXA Mini LF. We covered this film from the beginning, as the first film that was shot on the ALEXA Mini Large Format camera. Sam Mendes’ latest feature film “1917” shot by DP Roger Deakins won 3 Oscars, including best sound editing, visual effects, and cinematography. Picture credit: ARRI ALEXA Mini LF and Trinity as the ultimate tools to execute long takes Roger Deakins Talks About the new ALEXA Mini LF. Let’s hear what Deakins has to say about the making of this film. 1917 which is the winner of Oscar 2020’s Best Cinematography, was shot by Roger Deakins on the ALEXA Mini LF with Signature Prime lenses.
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