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  • These are the 61 scene changes in the screenplay for the movie 1917.

  • Almost every single one is labeledcontinuous”.

  • That's because this movie is two hours of what appears to be one long, uninterrupted shot.

  • One-shot films like this are a stunning accomplishment of coordination and timing.

  • And when done right, they make a movie feel like it's unfolding in real time.

  • But, of course, 1917 isn't really one shot.

  • The movie jumps between scenes shot all over the United Kingdom.

  • They're stitched together to look continuous.

  • A lot of that editing wizardry happens thanks to some extensive CGI.

  • But it also relies on some basic tricks that have been around for over 70 years.

  • And it all starts right herewith a suit jacket.

  • When critics reviewed Alfred Hitchcock's 1948 movie Rope, they described it as a movie thatintroduces a new method of film-makingin which all cuts, dissolve, fade-outs, and other breaks in filming continuity have been eliminated.”

  • That shooting plan is clear from the very first page of the script: “The action of the story is continuous.”

  • That's because Rope is based on a play.

  • Having no visible edits would make the movie feel like it was playing out in real time, just like the play does.

  • But there was one problem.

  • The cameras at the time could only hold a thousand feet of 35mm filmor about 10 minutes of recording.

  • Which meant that the filmmakers couldn't just let the camera run.

  • They had to find a way to hide cuts when they changed film rolls.

  • This is what they came up with.

  • The camera dollies in on a dark surfacelike this jacket, and one color obscures the entire frame.

  • Then the camera cuts, a new shot begins, and the camera dollies back outcreating the illusion of continuity.

  • Rope contains 10 edits over the course of 80 minutes.

  • Those transitions alternate between hard cuts and hidden cuts with matching colors.

  • Transitions like this might look really obvious today.

  • But it's basically the same trick used here in Creed.

  • Here in Birdman.

  • Here in Children of Men.

  • And here in Snake Eyes.

  • But if a camera is moving sideways, that color block doesn't even have to take over the whole frame.

  • That is trick number two.

  • By putting together two similarly timed shots where an object passes in the foreground, editors can stitch two shots together.

  • Like in this long take from Children of Menwhich is actually made of six different shotswhere a dark car frame helps transition from one shot to another.

  • But if you speed up the camera movement a bit, and you get a different kind of hidden cut.

  • In a whip pan, the camera moves so fast that the image becomes blurry.

  • By cutting from one shot to another right as the movement is at its fastest point, you can make two shots look like one.

  • That's how this scene from 1998's Snake Eyes moves from one shotto anotherin what looks like a seamless take.

  • So what does it look like when you put all of these tricks together?

  • Well this shot from Spectre, the 2015 James Bond movie, starts out in a busy square in Mexico City.

  • It uses CGI and motion blur to transition to a shot filmed in a hotel a few blocks away.

  • Then a color match from this black jacket to transition into a studio set near London.

  • And a foreground object to take us back on-location in Mexico City.

  • But if the stunts get more complicated in a long take, you might have to do more than hide a cut.

  • You might have to hide an actor.

  • That's where the final trick comes in: the Texas Switch.

  • That's when a performer and their double subtly swap places, which allows them to do stunts without cutting.

  • It's how Captain America runs so fast.

  • And how Dorothy changes colors all without the camera cutting.

  • Filming digitally and using CGI means that we actually can capture entire movies in one true take, with none of these classic tricks.

  • And there have been some stunning examples of just that.

  • But the limitations of early film gave us the techniques to tell even more ambitious stories by hiding cuts.

  • And you can probably still see where they're hidden, if you know where to look.

These are the 61 scene changes in the screenplay for the movie 1917.


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如何讓一部電影看起來像一個長鏡頭。 (How to make a movie look like one long shot)

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    Makoto 發佈於 2021 年 01 月 14 日