Thread: 1917

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    #51
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    Wait, this thread is about the film 1917, correct?

    Saw it last night and man was I floored. Incredibly technical film from start to finish. Great story, great acting, great tension. Amazing film.

    SB


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    #52
    Senior Member puredrifting's Avatar
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    Quote Originally Posted by Liam Hall View Post
    This is LOL. Are you trolling here Eric?
    Boom. Not taking the bait. Did make me smile.
    It's a business first and a creative outlet second.
    G.A.S. destroys lives. Stop buying gear that doesn't make you money.


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    #53
    Senior Member James0b57's Avatar
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    Quote Originally Posted by Batutta View Post
    LOL...1917 just won best editing at the Critic's Choice Award...which tells you how much critics actually know about filmmaking.
    The best edits are.... invisible... haha


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    #54
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    My mum, who is 82, went to see 1917 last week after hearing me recommend it. She had to leave the cinema half-way through because the camera movement made her feel sick. She rushed home before vomiting-up her lunch - lucky it was a matinee performance so she didn't waste her dinner.
    Last edited by Liam Hall; 02-03-2020 at 02:47 AM. Reason: Can't spell 1917.
    New Website: www.liamhall.net
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    #55
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    An article about how Roger Deakins liked the movement of the Arri Trinity stabilizer more than a Steadicam, https://www.indiewire.com/2020/02/19...ty-1202207817/


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    #56
    Senior Member Eric Coughlin's Avatar
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    Technically speaking the Trinity is still Steadicam, just with a gimbal on top of the Steadicam.

    I still found some of the movement to be jerky and mechanical looking compared to the more organic feel of Steadicam. Perhaps this can be fixed in future technology of gimbals. I was impressed by how slow of a push in was achieved for the scene with the girl and baby. And of course the Trinity has much more range of movement. But for shots that don't require booming up and down during the shot, I still prefer the look of Steadicam in most cases.


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    #57
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    I agree that there were some results I didn't love with the hybrid Steadicam work in 1917. In the leading shots in the trenches at the beginning, which was I believe done with a gimbal literally mounted on top of a Steadicam (vs the Trinity which is a more self-contained/unified device) and Roger operating the pan/tilt remotely, you can see the resulting reactive delays when the rig took a corner or course-corrected and the frame played catch-up. One of the great things about Steadicam is that the operator can anticipate and coordinate all of the axis together so that the rig may be making massive changes to the lens position, but it is minimized by the ability to counteract that motion simultaneously. Here it felt a little off.

    Additionally there was one scene where the edges of the frame revealed a herky-jerky type of motion that I associate with a gimbal that isn't properly tuned. I'll have to wait to see it on video to be able to analyze further and ID that scene.

    That said, these were small concerns amongst the larger whole and I was really impressed with the work (and stamina) of the various operators that were involved.
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    #58
    Senior Member Teddy_Dem's Avatar
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    ARRI posted a new Roger Deakins interview about the camera movement on 1917.

    https://www.arri.com/en/company/arri...ement-of-1917-

    https://www.youtube.com/watch?v=vpCD67BEjiA


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