How '1917' Used Invisible VFX to Immerse Us in One Shot | No Film School

If you saw Sam Mendes' 1917 late last year, you're probably still salivating over some of the film's incredible "one-shot" imagery. I know I still reminisce about "The Night Window" sequence all the time, which I think is one of the most unique and visually impactful sequences of recent film history.

So, I was very excited to learn the visual effects team behind the film, MPC Film, recently released a breakdown revealing the process on some of their stunning VFX work.

How did they composite empty plates, live actors, and CGI landscapes? How did they create the illusion of a burning French village? How did they hide crew and equipment in scenes where it was impossible for them to remain out of the shot?

For a glimpse behind the magic, enjoy the beautiful breakdown below.

The video reveals the inner workings of several key scenes, like how a cut between an empty plate shot is disguised seamlessly with another shot that includes a practical crashed German warplane. It also appears that digital doubles were used to match different takes, as well.

The team from MPC Film took home both the Academy Award (beating Avengers and Star Wars) and the BAFTA for best visual effects on 1917.

After the BAFTA win, MPC Film congratulated their team of around 600 artists via its website. According to MPC, artists were responsible for "digital environment extensions including No Man’s Land, the canal crossing, the burning village of Écoust, and Schofield’s jump into the river as well as destruction, pyro, and water effects."

What's next? Enjoy more articles on VFX magic

Want to know where all the hidden cuts are in 1917? Look no further. Check out the trends in de-aging actors on films like The Irishman, and see VFX artists react to good (and bad) visual effects!

Source: MPC Film

special effects visual effects vfx VFX Breakdown MPC film 1917

28 Years Later iPhone

Why Did Danny Boyle Shoot ‘28 Years Later’ on an iPhone 15?

Here’s everything we know about the reports of the new ‘28 Years Later’ thriller being shot on an iPhone 15.

Move over, Sean Baker and Steven Soderbergh—Danny Boyle is the latest director to make the bold choice to shoot his latest feature film on an iPhone. Why, you ask? Partly, perhaps, because the team knows it will get them some nice headlines like this one. And partly just because they can.

Whether you love or hate the idea of shooting professional video on iPhones, it’s hard to argue that these latest smartphones aren’t capable of high-end video.

The iPhone 15, which is what Boyle and his team reportedly used for the long-awaited follow-up to the original 28 Days Later in 2002 and its 2007 sequel 28 Weeks Later, in particular, has proven to be a major step forward for Apple and was very much promoted as a filmmaking-capable camera.

Still, as is always the case with these smartphone-shot feature films, there’s more to the story than just the headline here. So let’s explore how Danny Boyle and his team were able to shoot 28 Years Later on an iPhone.

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