![]() “The only way we could make the camera flow was to transition to a digital shot from the real one that starts the sequence,” Rocheron says. Photo Credit: François Duhamel / Universal Pictures (from left) Blake (Dean-Charles Chapman) and Schofield (George MacKay) in “1917,” the new epic from Oscar®-winning filmmaker Sam Mendes. The first two are the seven-minute walk through No Man’s Land, which involved visual set extensions, and the other was when George MacKay, playing the earnest but beleaguered Lance Corporal Schofield, has to jump into a river to elude enemy combatants. And he cites some examples of this particular dance that really exemplify the work for him. ![]() “We designed all these camera moves and positions really precisely. Of course, they tried to get most of those shots done in-camera, and considering they were working with a master DP like Roger Deakins-also Oscar-nominated for his work on the film-some of the load was definitely shared. “The design and execution were tremendously more complicated than other projects I have done,” he continues, noting that you might use visual effects “for a shot that lasts five seconds, and you’re on to a new shot.” Rocheron, who shared a previous Oscar for Life of Pi, and has overseen work on films like Godzilla: King of the Monsters and Ad Astra (the latter as the supervisor for effects shop MPC), knows from magic tricks, but here notes the trick here was a new one: “I’d never been asked to make a movie appear to be one-shot” before. The effects were all designed to work with the shots,” and every shot, he adds, was “a bit of a magic trick.” Cast and crew members on the set of 1917, the new epic from Oscar®-winning filmmaker Sam Mendes. “That’s what really makes the project interesting from a visual effects standpoint. ![]() In other words, where effects work is in the service of an ostensibly realistic film (thus, on the VES side, 1917 is up against not only The Irishman, but also films like Ford v Ferrari and Joker).ġ917 developed a recent head of steam, to use a metaphor from World War I-era technology, with a best picture win at the Producers Guild awards, where director and co-writer Sam Mendes called this translation of his grandfather’s war stories the “best experience of my professional life.” But Rocheron notes putting that experience on screen was not about spectacle. And in an Academy FX slate that ranges from Avengers: Endgame to The Irishman, he has a point.įor the Visual Effects Society’s awards, the final two feature film categories are divided into two: One where visual effects predominate in photoreal features-hence Endgame is up against the Rise of Skywalker, and other FX-driven films-and one for supporting effects in photoreal films. Windows 10, now with even more bloatware! Seriously, the reason I built my own computer was because I hate how much bloatware comes on any prebuilt device, and this damn OS, in spite of having practically no improvements over previous versions of windows, immediately took up over 20 GB of space on my SSD, most of it for 'features' like the automatic setup to utilize my own bandwidth to update peoples computers so microsoft doesn't have to use their own, and the pointless 'cortana' crap that doesn't do anything I don't already do for myself.“I think what’s really kind of interesting is all the movies this year are using visual effects for widely different reasons,” notes 1917’s Oscar and VES-nominated visual effects supervisor, Guillaume Rocheron. ![]() ![]() But once that's done the processor was free enough to do the work I asked of it, and I'm happy enough to recommend Windows 10 to anyone who needs to upgrade to this new OS. My only complaint would be the extent to which one must go to disable (or at least minimize) unwanted background applications such as Cortana, cross-platform data transfer and mobile-oriented programs. I optimized my computer for my needs (music production) and was able to step right back into my familiar environment. ![]()
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