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I think it's a shame there's so few discussions in the 'Aesthetics' threads here when that's kinda the whole point of what we do, right?! I'm just hoping to leave this space open for discussion on the aesthetics of 1917. From a story and technical point of view, I found this film to be absolutely phenomenal and virtually flawless. But in talking about the look of the movie, I thought it was so beautiful and no doubt thanks to Deakins' incredible talent but of course the operators who made these frames. I was blown away and again watching the movie. A few highlights were that plane crash 'shot' and the 'shot' following George MacKay's character down the river when he begins to go under and then the slow, slow approach to fallen tree with the dozens of bodies slowly revealing themselves - eerie to say the least. I, and maybe you were too, was concerned this film as a oner would feel a bit gimmicky, but I think the lack of 'editing' and the ability to place the audience in real time with the characters was perfect. Every key piece of information was revealed to the camera at just the right time, forcing our reactions to sync up perfectly with the characters. Think - the rat and the trip wire. There is no insert shot of the rat approaching the wire to build suspense and give a wink to the audience, we see the rat at the exact moment the characters do, and only have that half second to react - just like them. Similarly, there isn't any big moments where the audience watches a character's face as they look out at something or learn new information about what's in front of them without us seeing it at the same time too. I suppose the aesthetics of this film are woven so masterfully with TIMING and for me, that's really what brought it all together. I would love to have a conversation about all things 1917 that doesn't get too technical as I see a lot of those discussions happening already! Sam.

Thanks, Katerina.

"Undercutting" comes naturally early in your career. You do not have the experience quite yet to be charging what experienced ops charge. Make sure production knows why though, as you don't want them having high expectations. Also, don't take a gig if you aren't ready for it. Word travels fast which can either work against you or for you. Best of luck and you have us all for information and help. Also, nothing against Greg but taking a SOA workshop will also work in your favor. Many experienced ops to learn from, giving you exposure to different techniques from different people. Discover what works or doesn't work for you. You will develop your own style in time, generally a combo of what you have learned from the various instructors. Any questions, feel free to ask.