I sent this video to the living legend that is Sir Roger Deakins himself, and he actually responded! "Tommy, Interesting!!! You were not so lucky with the weather as we were! On that last walk to the tree the sun comes out as the camera follows George. I managed to time this light change as a cloud was passing the sun and it happened only on the first take. Luckily for me, this was the take that Sam preferred for performance and take one is in the film. Otherwise, you are giving some of our tricks away! All the best, Roger" That's made my day! 😊
Such interesting insight from Roger. We were wondering how they transitioned from muted and overcast at the handshake, to that beautiful light during the walk to the tree. Suspected more transition trickery might be at work as it was impossible to replicate on the day, but turns out the most obvious answer completely eluded us! They timed it perfectly so that the sun came out from behind a cloud. All captured in camera, and in one take too. Real movie magic!
100% man it’s a masterpiece. Glad you think we did it justice. To be honest we loved just being there on the spot it was all filmed, let alone trying to create it 🤣
So damn well executed! Wow. Timing, most of the acting, and above all: location. I do so envy you living "nearby" and having all these skills. Simply amazing. Will watch this a few times now. Thanks for making this a great day for me!
Bravo!!! The vision and work of true Artists. That was like poetry to the eye. Thank you dor sharing your vision and project with us, and Thanks to Underground History for nudging us to your channel.
Thanks man appreciate that. If there’s any way you can hold on a month or so, the leaves will be on the trees and it will look much more like it does in the movie. Thought I’d pass that on as wish we’d known that at the time! Best of luck mate and enjoy
This is so good Tommy!!! I need to hang out with you guys more!! Right up my street this little adventure. Such a fun thing to do and that’s awesome you managed to find that tree 👏👏👏
Holy crap, y’all did an amazing job on this!!!!!! 😮 It has got to be very very difficult trying to exactly recreate someone else’s work!!!! I can’t even imagine!!! Y’all definitely did it justice & u guys should have tons of people wanting to hire u after seeing this!!!!! Great work!!!! Mad skills!!
Thanks so much man. Glad you enjoyed it. It was definitely tricky for sure but I think we got close enough! I have more ideas like this and hope to do something more soon. Thanks again!
I gather the tree is near Earlstoke,i walk my dogs near the farmhouse location between chitterne and shrewton,a location known as tinkers track,again red flags apply,great video.
So cool! I love this and that movie! I watched a BTS and learned that actual tree was the crews “PEE” tree. It was a running joke because the actors found out later! If y’all ever come to states and recreate another… hit me up, I would love to help!! Blessings
I don't actually like the clean look of modern movies, including 1917 and many others. I mean look at the most recent Batman or Saving Private Ryan or even the Edge of Tomorrow. The image is so much more cinematic and beautiful. Latest movies are just too clean if you know what I mean, too polished.
Yeh I know exactly what you mean. Personally I always sway darker and grittier in my work, and I love texture. However it’s subjective of course. I’ve heard Deakins say that he dislikes anything that gives the image away as having been shot through a lens, as he believes it’s more immersive for the viewer that way. Hence why he goes for super clean and crisp and he even avoids lens flares. I can understand that after all who am I to argue with Sir Roger 🤣, however my personal taste is very much more filmic.
@@RoweFilmsThat kind of look is not really suitable for a war movie. I mean look at Saving Private Ryan, Fury, or any of the OG war movies. Sure 1917 or the All Quiet on the Western Front are great movies in terms of their storytelling, the clean look disrupts the immersion that even the low-budget Sisu seems to get. Deakins may be a master of his craft but not all of his movies are perfect either... Look at the work of Sven Nykvist, Gregg Toland, Conrad Hall and a few others. Deakins' work draws too much attention, which means that he became someone that even a layperson might be able to name but that does not mean his work is the best. But that's just my opinion.
@@the40thstep Yep tend to agree with you mate. Although that’s just it - our opinion. 1917 was a masterpiece from a cinematography perspective, even if I’d liked to have seen more grit and grime for my personal taste
@@RoweFilms I had an idea that you may have one or two projects knocking about in your noggin and I have set the notifications and wish you the very best with it all from Liverpool UK 🇬🇧 📚 🔥 #OurHistory
Did you shoot this with the Panasonic? What F stop did you shoot at? The movie looks like it was stopped down because everything looks very sharp in the distance. Also did you use a diffusion filter? That's another thing it looks like they avoided. There's a sharpness and contrast to the image coming from the Arri which really gives the image some punch.
I'm pretty sure that’ll be the Arri Signature Prime mostly dude. As far as I can tell, Roger Deakins usually goes for a sharp and clean look that's true to what our eyes see. It's hard to get more technically ‘perfect’ than the Signature Primes. Just another level really
Nope 1917 was shot predominantly on a 40mm Signature Prime, with only a couple of shots on a 35mm. Don't forget they used an Alexa Mini LF, on which lenses are roughly 1.5x 'wider' than S35 in terms of field of view. 40mm on Large Format will be (roughly) approximate to 20mm on a 4/3 sensor, which is what we were shooting at. Depth of field wise, to my eyes it looks like they were around T5.6 so we shot at f2.8, again the rough equivalence to give a similar DOF. When I pulled up the footage I realised they may have been slightly more wide open. I did have to push in ever so slightly in post, to more closely match the framing of the subject. It was impossible to match them step for step with the gear I had, so I chose to keep a little more distance, knowing I could punch in and slightly reframe in post, if necessary. So that's what you're seeing - distance and perspective, which is all "background compression" really is. My slight punch in slightly affecting the background perspective. Again though, this was all just for fun, to see how close we could get with the gear and time we had on hand, so it's not to be taken too literally. The reality being its pretty much impossible to match exactly without using the same gear they used, so give me an Alexa Mini LF, Signature Prime and a Trinity, and let's try again 🤣 shotonwhat.com/1917-2019
