This meant that Rocheron’s team had to work slightly differently. But it takes all night to render a ten second shot, so doing one that’s several minutes long would take days. Generally, VFX artists will work during their day, and then leave the hardware-intensive rendering of the high-resolution footage to run overnight so that it’s ready to review in the morning. That also presented a technical challenge. Your brain has time to look at things and analyse them, especially in IMAX format.” “As soon as you have a cut, your brain resets – but in our case, you can really study everything. “VFX is all about fooling the audience, through the quality of the computer graphics, the movement and the perception of reality,” says Rocheron. In 1917, some shots ran to several minutes. “Oners” – shots of 60 seconds or more – are notably rare. On a normal movie, shots generally range from a few seconds up to about 20 seconds. But the biggest complicating factor was the way the film was shot.
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The task was made harder because the movie was produced in native IMAX – a widescreen, incredibly high-resolution format which meant the digital painting work of the VFX artists had to be even more precise and intricate. “One scene could be shot in Shepperton Studios and the next scene in Glasgow and you have somehow to blend that completely seamlessly.” “It requires incredibly sophisticated rendering and animation and blending to go from take to take,” says Rocheron. For the plane crash, the team created a digital plane crashing into a digital barn, which was then blended with a physical replica of the plane shot on location. There were myriad different approaches used depending on the type of shot.
Read more: The most exciting new films coming out in 2020 “Every transition is a bit like a magic trick.”
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“From early in production we looked at how to make it so that it looks continuous and so it’s absolutely imperceptible in terms of the look and in terms of how the camera is flowing,” says Rocheron, who worked alongside Mendes and cinematographer Roger Deakins on the film.
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