![]() One key scene early on where the Trinity proved its worth finds the two lead characters navigating No Man’s Land. That ability to boom up and down was invaluable in “1917,” where the camera follows soldiers climbing over trenches one minute and crawling through mud the next. There’s an enormous amount of things you can do that you can’t do with a Steadicam, and if you were doing it on a with a remote head, it would take you an enormous amount of time to lay the track.” “For instance, you can be on someone’s feet walking and go up to their back and around to the front. “Obviously the thing about the Trinity is the ease with which you can move up and down you can do a shot that flows,” said Deakins. I think that is, in large part, the particular mixture of the rigs that Roger selected.” I think that one of the things I feel most delighted about with the film is that Roger found a way to do that in a way that was pleasing to both of us, and yet kept complete control over it, which was remarkable. It never felt arid and sort of bloodless, and we didn’t want it to feel like it was being controlled mechanically. And other times the frame is very, very still and composed. “It’s a soft handheld feeling at times, but it’s very subtle. “It has the movement of feet and breathing and steps, which I like,” said director Sam Mendes in an interview with IndieWire. 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.
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