The art of cinematography in 1917 (2019) represents one of the most ambitious and technically demanding achievements in modern filmmaking, fundamentally redefining what audiences and industry professionals believed possible with a motion picture camera. Directed by Sam Mendes and shot by legendary cinematographer Roger Deakins, this World War I epic presented itself as a single continuous take, following two British soldiers across the Western Front as they race against time to deliver a message that could save 1,600 lives. The film’s visual approach was not merely a stylistic choice but a narrative necessity, designed to immerse viewers in the unrelenting tension and physical exhaustion experienced by its protagonists. What makes 1917’s cinematography worthy of deep analysis is how it solved seemingly impossible technical problems while maintaining emotional authenticity.
The film required Deakins and his team to choreograph camera movements across trenches, open battlefields, ruined villages, and river rapids””all while maintaining the illusion of a single unbroken shot. This meant developing new equipment, rehearsing scenes for months, and coordinating with natural light in ways that had never been attempted at this scale. The result earned Deakins his second Academy Award for Best Cinematography and sparked widespread discussion about the relationship between technical innovation and storytelling. By the end of this article, readers will understand the specific techniques Deakins employed to achieve the one-shot illusion, the equipment innovations that made the film possible, and the philosophical approach behind every camera movement. Whether you are a film student, aspiring cinematographer, or simply a viewer curious about how 1917 achieved its breathtaking visuals, this analysis will provide concrete insight into one of the most significant cinematographic achievements of the 21st century.
Table of Contents
- How Did Roger Deakins Achieve the One-Shot Illusion in 1917’s Cinematography?
- The Technical Equipment and Camera Systems Behind 1917’s Groundbreaking Visuals
- Lighting Techniques and Natural Light Philosophy in 1917
- How Cinematography Serves Storytelling in the 1917 War Film
- Common Misconceptions About the 1917 One-Shot Cinematography
- The Influence of 1917’s Cinematography on Contemporary Filmmaking
- How to Prepare
- How to Apply This
- Expert Tips
- Conclusion
- Frequently Asked Questions
How Did Roger Deakins Achieve the One-Shot Illusion in 1917’s Cinematography?
The continuous shot in 1917 is, in reality, a series of long takes stitched together through carefully hidden cuts. Roger Deakins and editor Lee Smith identified natural transition points””moments when the camera passed behind a soldier’s back, entered a dark space, or moved through shadows””to seamlessly blend individual shots ranging from three to eight minutes in length. The longest uninterrupted take in the film runs approximately eight and a half minutes, though the average audience member would be unable to identify where any cuts occur. This invisible editing technique required meticulous planning during pre-production, with Deakins walking the sets with a viewfinder for months before cameras ever rolled.
The illusion depended on absolute precision in camera movement, actor blocking, and environmental timing. Deakins worked closely with movement coordinator Charlie Noble to ensure that camera operators, Steadicam operators, and the actors themselves hit their marks within seconds of their planned timing. On set, the camera team used a combination of Steadicam, wire rigs, cranes, and vehicle mounts””sometimes transitioning between all four within a single take. one particularly complex sequence involved the camera starting on a crane, transferring to a Steadicam operator running alongside the actors, then being lifted by a second crane over a wall, all without visible interruption.
- **Hidden transitions**: Cuts were concealed using darkness, passing behind objects, and whip pans that blurred the frame momentarily
- **Rehearsal intensity**: Principal actors Dean-Charles Chapman and George MacKay rehearsed scenes for up to six months, treating each take like a stage performance
- **Digital stitching**: While practical transitions were preferred, some connections between shots required subtle digital compositing to perfect the seamless flow
The Technical Equipment and Camera Systems Behind 1917’s Groundbreaking Visuals
Deakins selected the ARRI Alexa Mini LF as the primary camera for 1917, making it one of the first major productions to utilize this large-format digital cinema camera. The Alexa Mini LF offered a larger sensor than standard cinema cameras, providing shallower depth of field and a more immersive field of view that enhanced the feeling of being present alongside the characters. Paired with ARRI Signature Prime lenses””particularly the 40mm, which Deakins favored for its natural perspective””the camera captured images with exceptional clarity while remaining compact enough for the dynamic movement the film demanded.
The camera had to travel through environments that would destroy conventional rigs, including muddy trenches filled with water, cramped underground bunkers, and open fields under unpredictable weather conditions. Deakins’ team developed a modular camera support system that could quickly transition between different mounting configurations. The Stabileye stabilization system proved essential for certain sequences, particularly when the camera needed to maintain smooth motion while traveling over rough terrain at speed. Trinity, a hybrid stabilizer combining Steadicam and remote-controlled head technology, allowed for shots that started wide and smoothly pushed into close-ups without additional cuts.
- **Large format advantage**: The bigger sensor created a distinctive look with enhanced background separation while maintaining the ability to shoot at wide apertures in natural light
- **Weather challenges**: The production scheduled shoots around specific cloud cover conditions, sometimes waiting hours for the right natural lighting
- **Custom rigs**: A specialized wire cam system was built to follow actors across no-man’s-land, capable of traveling at speeds matching a running soldier
Lighting Techniques and Natural Light Philosophy in 1917
Roger Deakins has long been known for his naturalistic approach to lighting, but 1917 pushed this philosophy to its limits. Because the film needed to appear as one continuous shot, artificial lighting setups had to be either invisible or impossible. Deakins made the decision early in pre-production to rely almost exclusively on natural light for exterior scenes, meaning the production could only shoot during specific hours and under particular weather conditions. This choice added months to the shooting schedule but resulted in images with an organic quality that studio lighting could never replicate.
The night sequences presented the greatest lighting challenges. The extended scene where Schofield runs through a burning French village required an entirely different approach, as natural light was unavailable. Deakins orchestrated the destruction of the town using practical fire effects supplemented by enormous flame bars and flare launchers that provided motivated lighting from within the scene. The flickering, dancing shadows created by the actual flames gave the sequence its nightmarish quality. For the flare-lit portions, Deakins timed camera movements to the rhythm of the pyrotechnics, with actors rehearsing their paths to coincide with specific lighting cues.
- **Golden hour limitations**: Many exterior scenes were shot exclusively during the hour after sunrise or before sunset, compressing available shooting time dramatically
- **Overcast preference**: Deakins specifically requested cloudy conditions for trench sequences, as direct sunlight would create harsh shadows inconsistent with the film’s palette
- **Practical sources**: Even in constructed sets, Deakins insisted on candles, lanterns, and fires providing actual illumination rather than simulating these sources with hidden film lights
How Cinematography Serves Storytelling in the 1917 War Film
The one-shot technique in 1917 was never intended as mere technical showmanship. Mendes and Deakins conceived the approach specifically to create an unbroken connection between audience and character, eliminating the psychological distance that conventional editing provides. In a standard war film, cuts allow viewers micro-moments of relief””brief escapes from the tension of any given scene. By removing these pauses, 1917 forces audiences to experience time exactly as the soldiers do: relentlessly, without respite, with danger potentially emerging from any direction at any moment.
The camera’s relationship to the characters carries deliberate meaning throughout the film. Deakins typically positions the camera at the soldiers’ eye level, following slightly behind or beside them rather than leading. This placement puts the audience in a position of following the protagonists into unknown danger rather than observing from a safe, omniscient perspective. When the camera does move ahead of the characters, it often signals moments of relative safety or emotional significance. The cinematography communicates narrative information that dialogue never explicitly states.
- **Time compression and expansion**: Though presented as real-time, the film subtly manipulates temporal perception through camera speed and movement rhythm
- **Spatial geography**: The continuous shot forces the filmmakers to establish clear spatial relationships, making the journey’s progress constantly legible to viewers
- **Emotional punctuation**: Key dramatic moments are marked by changes in camera behavior””pauses, subtle pushes toward faces, or shifts in framing height
Common Misconceptions About the 1917 One-Shot Cinematography
Perhaps the most persistent misconception about 1917 is that it was filmed in a single actual take. While the filmmakers never explicitly claimed this, the marketing and word-of-mouth created this impression for many viewers. Understanding that the film contains approximately 40 individual shots connected through invisible edits does not diminish the achievement””in many ways, it makes it more impressive. Each of these long takes required dozens of elements to align perfectly, and a mistake at minute seven of an eight-minute shot meant starting over completely. Production records indicate that some takes were repeated over 50 times before Deakins approved them.
Another common misunderstanding involves the extent of digital manipulation. While 1917 used visual effects extensively for elements like explosions, sky replacements, and crowd multiplication, the core cinematographic achievement remains fundamentally practical. The camera movements are real, captured in-camera by skilled operators working in coordination with actors and crew. Digital tools enhanced and connected these practical elements but did not create the fundamental visual experience. The distinction matters because it speaks to the craft involved: Deakins and his team solved problems through physical filmmaking rather than relying on post-production to fix issues.
- **Rehearsal reality**: The six-month rehearsal period involved full-scale recreations of sets, with actors and camera teams practicing together daily
- **Take count variations**: Some scenes required only a handful of takes while others exceeded 60 attempts before meeting Deakins’ standards
- **Physical demands**: Camera operators trained like athletes, building stamina to maintain stability while moving quickly over difficult terrain for extended periods
The Influence of 1917’s Cinematography on Contemporary Filmmaking
Since 1917’s release, the film’s techniques have influenced numerous productions attempting similar long-take aesthetics. Television productions like the “Rescue” episode of 9-1-1: Lone Star and theatrical releases including Birdman (which predates 1917 but uses similar techniques) demonstrate growing industry interest in unbroken visual storytelling. The success of 1917 proved that audiences respond to immersive cinematography not as a gimmick but as a valid artistic choice that enhances emotional engagement.
The film has also affected how cinematographers and directors communicate during pre-production. The extensive previsualization process Deakins and Mendes employed””including detailed digital models of every location and precise timing breakdowns””has become increasingly standard for ambitious productions. Film schools now study 1917’s production documentation as a case study in how to approach technically demanding material, emphasizing that innovation requires meticulous preparation rather than on-set improvisation.
How to Prepare
- **Watch without distractions first**: Experience the film completely before attempting analysis, allowing the intended emotional effect to register before intellectualizing the techniques. The cinematography’s effectiveness depends on unconscious immersion, which analysis mode can disrupt.
- **Research the production timeline**: Familiarize yourself with the six-month rehearsal period, the location choices in England and Scotland, and the weather-dependent shooting schedule. Context about production constraints helps explain why certain visual choices were made.
- **Study Roger Deakins’ previous work**: Watch films like Blade Runner 2049, Skyfall, and No Country for Old Men to understand Deakins’ visual language and recurring preferences. Recognizing his signature approaches helps identify what he developed specifically for 1917 versus his established style.
- **Review behind-the-scenes materials**: The film’s home video release includes detailed documentaries about the technical equipment and shooting process. These materials provide specific information about which shots used which rigs and where hidden cuts occur.
- **Learn basic Steadicam and camera movement principles**: Understanding the physical challenges of stabilized camera movement helps appreciation of what the operators accomplished. Even basic knowledge of how Steadicam rigs function reveals the difficulty of maintaining smooth motion across uneven terrain.
How to Apply This
- **Begin with story motivation**: Before committing to any technical approach, ensure the technique serves the narrative. Deakins has emphasized repeatedly that the one-shot method was chosen because it was the right way to tell this specific story, not because it would impress audiences.
- **Invest in pre-production**: Budget significant time for rehearsal with actual camera equipment on location or full-scale sets. The ratio of rehearsal time to shooting time on 1917 exceeded anything standard in the industry, and this investment directly enabled the results.
- **Plan transitions with precision**: If attempting long takes with hidden cuts, identify natural transition points during location scouting and script breakdown. These moments must exist organically in the scene rather than being forced into the action.
- **Build camera operator endurance**: Extended takes require physical preparation from camera operators. Incorporate conditioning into the rehearsal process, gradually extending take lengths as operators develop stamina and muscle memory.
Expert Tips
- **Study the geography before each sequence**: Deakins planned every movement based on the physical environment, using actual terrain features to motivate camera directions and speeds. Let locations suggest movements rather than imposing predetermined ideas onto spaces.
- **Embrace weather as a collaborator**: Rather than fighting natural conditions, Deakins incorporated clouds, rain, and limited daylight into the aesthetic. Flexibility with weather creates opportunities for unique images that controlled environments cannot provide.
- **Maintain operator-actor relationships**: The synchronization between camera operators and performers in 1917 developed through months of shared rehearsal. Technical crews and actors should train together as a unified ensemble rather than separate departments.
- **Use invisible cuts sparingly**: The power of hidden transitions depends on their invisibility. Overusing the technique or placing cuts in obviously concealed locations undermines audience trust in the continuous experience.
- **Prioritize emotional beats over technical achievements**: Deakins consistently subordinated impressive camera moves to character moments. The most memorable images in 1917 are often the stillest””faces in close-up, moments of pause amid chaos.
Conclusion
The cinematography of 1917 stands as a landmark achievement because it demonstrated that technical ambition and emotional authenticity need not conflict. Roger Deakins and Sam Mendes did not set out to prove that a two-hour continuous shot was possible; they determined that this specific story demanded this specific visual approach, then solved every problem necessary to realize that vision. The result is a film that functions both as visceral entertainment and as a masterclass in camera movement, lighting, and visual storytelling.
For viewers and filmmakers alike, 1917 offers lessons that extend far beyond its particular techniques. The film proves the value of extended preparation, the importance of story-driven technical choices, and the power of naturalistic lighting even in extraordinary circumstances. Those inspired by Deakins’ work should focus not on replicating the one-shot approach but on understanding the principles beneath it: clarity of vision, meticulous planning, and absolute commitment to serving the story above all else.
Frequently Asked Questions
How long does it typically take to see results?
Results vary depending on individual circumstances, but most people begin to see meaningful progress within 4-8 weeks of consistent effort.
Is this approach suitable for beginners?
Yes, this approach works well for beginners when implemented gradually. Starting with the fundamentals leads to better long-term results.
What are the most common mistakes to avoid?
The most common mistakes include rushing the process, skipping foundational steps, and failing to track progress.
How can I measure my progress effectively?
Set specific, measurable goals at the outset and track relevant metrics regularly. Keep a journal to document your journey.
