Pseudo-long-lens movies, as the name suggests, are the use of post-production special effects and hidden editing to process several shots into high-tech activities that seem to have only "one shot" (that is, the camera will not stop). There is "Birdman".
Now that there is "1917" again, I believe that many fans are undoubtedly very excited after seeing the end of "1917", because the difficulty is unprecedented, the actors and cameras need to continue to travel through multiple trenches, farms, Nearly six or seven main scenes including ruins, rivers, woods, etc., combined with post-editing, special effects company background replacement, and digital processing, a dozen shots are integrated into "one" long shot. According to the behind-the-scenes explanation, the time required for the choreography of the actors of the light crew is up to It took six months.
In the editing of "1917", we have not only absorbed a lot of previous experience, but also created a lot of jaw-dropping new technologies. As a technical control, naturally we can't let it go. After inquiring a lot of information and behind the scenes , I have found most of the editing points, one by one below.
1. The clip is blocked at 3 minutes and 42 seconds
When the two protagonists, Schofield and Blake, were walking and chatting, they came across a group of soldiers transporting materials.
Here, we used passing soldiers to make occlusion editing.
2. Black screen editing at 8 minutes and 19 seconds
The plot here is that the two protagonists, Schofield and Blake, receive orders from their superiors, and then leave the tunnel.
The ups and downs of the soldier Schofield's backpack happened to completely cover the light outside the cave, forming a momentary black screen, achieving the effect of hiding the editing.
The most famous case of this method is undoubtedly the aforementioned "Desperate Soul".
This film is also a "pseudo-one shot to the end", but the main reason is that due to the development of film technology at that time, the camera can only load one roll of ten-minute film at a time, so director Hitchcock thought of a way, every ten For about minutes, always move the lens along with the character to the chair or the back of the sofa to create a black screen for a few seconds. The editor uses this black screen time to stitch another long shot. At the end of this long shot, there is another black screen time for Splicing another...so a complete movie with a doll.
3. Uphill at 16 minutes and 42 seconds
Here is the two protagonists moving from the trenches to the upper battlefield, using their preparations to edit
This is a relatively hard-to-see editing point. It is also simple and rude. You only need to fix the actor and the camera in the same position and move, but it is simple to say, but difficult to do. It must be fine to every small detail before booting. No mistakes can be made to connect smoothly.
4. The hand was broken at 23 minutes and 02 seconds, and the mound passed by
This is the only airspace where Soldier Schofield hooked his left hand to the barbed wire from the 18th minute and was wounded in the 24th minute.
The main function of the editing is to suspend the filming of Scofield’s left hand makeup and deepen the trauma of the hand. Although Scofield’s left hand was deliberately blocked before the editing, it can still be seen through some small details comparison that before and after the editing of Kongjing , The left hand wound has a more obvious change.
5. Walk into the tunnel at 25 minutes and 46 seconds
There was also a moment of darkness when the two protagonists entered the tunnel.
See two, no longer go into details.
6. Special effects explode at 28 minutes and 02 seconds
Here is a tunnel explosion caused by a mouse stepping on the line. The explosion screen is edited by CG special effects.
After the explosion of the special effects, the camera pans to the left, and Blake also falls to the side, creating the feeling of being thrown away by the impact of the explosion, but this is actually the second shot after editing.
7. The clip is blocked at 38 minutes and 04 seconds
The plot here is that the two protagonists come to the remnant wall in front of the farmhouse, the soldier Blake crosses it, and the camera uses one side of the wall as a cover to complete the editing.
It could have been seamless like other occlusion clips, but the actor's position is missing.
At 38 minutes and 3 seconds of the movie, we can see that Schofield is holding the gun sideways.
But after editing through the occlusion of the fence, it took only one second , that is, at 38 minutes and 4 seconds of the movie, to be holding a gun.
8. The German plane crashed at 43 minutes and 40 seconds
Here, the crash of the plane was processed with CG special effects, and at the same time, the two protagonists were connected into a real shot when they were rescued.
9. Skin tone transition at 51 minutes and 25 seconds
In many movies involving death, the crew often ignores the fact that death will gradually change human skin from flesh-colored to off-white.
But in "1917", director Sam Mendes respected this reality. After being cut in Blake's abdomen, he completed the skin tone transition through multiple editing.
Here, after Scofield dragged Blake and turned around, Blake's face changed from flesh-colored to gray.
During the turning process, there was a motion editing to stop and let the makeup artist put on makeup. The connection processing of the picture was perfect. Fortunately, the clapperboard of the studio photos revealed the message of "this is actually edited".
10.51 seconds 36 seconds skin tone transition 2
Here is the second cut of the skin tone transition.
Schofield was dragging Blake. Suddenly, a few meters away, two soldiers wanted to help. The camera panned in the direction of the sound, and the editor completed the editing in the blurred picture when panning.
A few seconds later, when the focus of the camera returns to Blake's face, we will find that his face is once again dark.
11.54 minutes and 52 seconds
The camera followed the protagonist into the car, passing by a soldier's back during the period, forming an instant occlusion clip.
The purpose of the editing here is to allow the photographer to get on the car. In the car before the editing, the parking space where the camera is preset on the left is full of soldiers. Obviously, it can no longer accommodate the photographer and the camera ( And keep the camera stable when getting in the car).
You can only take pictures of the soldiers in the car first, then edit them when you get on the car, stop and let the soldier who will be placed on the side of the camera get out of the car. When the camera is turned on for the second time, the camera passes by the back of the soldier again, but at this time the car is already there. The vacant position is for the camera and the photographer, and then the camera has been maintained at the same position and angle, and the vacant position next to it, the group of soldiers took advantage of the blind spot of the camera, and then boarded the car to fill it up.
12. At 56 minutes and 50 seconds
The wheel plunged into the quagmire, and the camera followed the protagonist to get out of the car. During this time, a standing soldier passed by the back and formed an instant blockade.
The above-mentioned occlusion editing was also carried out here, so that the camera can move down from the car full of people, and then focus on the protagonist on the side of the car to create a blind spot for the soldiers in the car to rearrange.
13. Panning the camera at 62 minutes and 20 seconds
Getting off the bus to the broken bridge here is not a one-time shot, and special effects editing has been done in the panning shot.
When the Broken Bridge was filmed, the crew’s tents and equipment were actually stacked in the back.
14. Time switch at 66 minutes and 17 seconds
Here is the most obvious time-switching clip in the whole film, showing the protagonist's coma when he was knocked down the stairs with a black screen of ten seconds.
At the same time, it turns from day to night, and enters the "magic moment" of this film's photography.
15. Escape from the ruins at 71 minutes and 51 seconds
The plot here is that the protagonist is discovered by German soldiers, and then rushes through the ruins.
At 71 minutes and 49 seconds, when the German pursuers from the rear fell, there was an editing point that revealed this fact for us behind the scenes.
The ingenuity here is that the falling action of the movie character is used for instant editing, which reduces the difficulty of the two characters in the editing process. At this time, the only protagonist in front of the camera is always moving fast, and the actions are somewhat different. As long as the position card is accurate (of course the difficulty is not small), the long shots can be connected smoothly.
By the way, the lighting here is done with the lighting of the distant church (the flame is a CG special effect), so there is no need to worry about the material shot at different time periods during editing, and the lighting changes.
16. From the basement to the stairs at 79 minutes and 44 seconds
The plot here is that Will bid farewell to the French civilians and walked from the basement to the top. When the camera moved, the black screen was stuck for a moment.
See also two, no more.
17. Jump off the riverbed from the ruins at 82 minutes and 56 seconds
It can be said that this is the worst shot of the whole film. The transition from ruins to the river is all based on CG, but due to the cost, the final special effects are relatively "50 cents", destroying the viewing experience brought by real shooting.
Then the environment around the river has also undergone special effects treatment, and has actually been repaired.
Eighteen.84 minutes and 28 seconds fall down the waterfall
The waterfall scene here is actually shot with a crane hanging from the camera, but the real "waterfall" is only more than half a meter high.
The falling waterfall in the feature film was processed with special effects, so it was actually edited here.
Nineteen.86 minutes and 06 seconds to block the clip
When the protagonist falls off the waterfall and swims to the woods, a rock blocks most of the camera's space for about 3 seconds.
Here is also the occlusion editing, there is a time span from dark to light before and after
Twenty.89 minutes and 06 seconds in the woods empty space
In the interval from the river bank to the woods in Schofield, there is a short display of the surrounding environment of the woods, which is also edited here.
Twenty-one.Rapid panning at 96 minutes and 33 seconds
The trench at 96 minutes and 30 seconds, using the camera to quickly pan to the right for editing
In "Birdman", this method is used a lot, because the image becomes very blurred whenever the camera moves at a high speed, and it is easier to process it in post-stitching.
22. Jump off the trench at 97 minutes and 58 seconds
The plot here is that Soldier Will jumped out of the trench from the green plain above. The camera, which had been in a shaking state, paused for a few seconds, and the reason was also edited.
Here is a clever use of running soldiers to block movement
At this point, the 109-minute editing of "1917" has been completed.
As the time of the movie is almost synchronized (except for the editing during the day and night), the characters’ dress code remains the same, and there are some very seamless edits that can only be known behind the scenes. Misjudgment is inevitable, and there are some suspected editing points, but there is no definite evidence. Can only give up, welcome to add and correct, will continue to update~
View more about 1917 reviews
