![]() The making of 1917 depended on hidden match cuts that were made subtly. 1917 one shot post-production How they combined long takesġ917’s editor, Lee Smith, depended heavily on the blocking and camera movement of a scene to pull off the 1917 one shot appearance. Most importantly, foreground elements like wooden posts, trees, and fences were meticulously placed so that they cross the frame and allow editors to stitch together two shots to create the 1917 one shot illusion. Details like this were essential for production design to incorporate so because the shot could not cut and the camera movements were just as rehearsed as the actors. The window of the building in which Scofield is knocked out, actually opens up for the camera to pass through as well. In the trenches of no-man’s-land, the barbed wire fences had clear openings for the camera to pass through. Not only did the sets have to look completely realistic to World War I, but they had to be functional and serve the 1917 one shot look of the film.
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