How ‘1917’ Showcases the Future of Camera Stabilization and Movement

Regardless if you think the long, continuous take illusion of “1917” is immersive brilliance, or gimmicky showmanship, it’s hard not to be impressed by how the camera moves so precisely, in seemingly every direction, yet is able to consistently reframe to create the same level of compositional exactness that has defined cinematographer Roger Deakins’ storied career.

There is also something distinctly human about the camera movement in “1917,” which never feels like it was executed in a computer game engine or by some robotic device.“It has the movement of feet and breathing and steps, which I like,” said director Sam Mendes in an interview with IndieWire.

“It’s a soft handheld feeling at times, but it’s very subtle.

And other times the frame is very, very still and composed.

It never felt arid and sort of bloodless, and we didn’t want it to feel like it was being controlled mechanically.

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