The camera tech propelling shows like Adolescence

In the acclaimed Netflix series 'Adolescence', the innovative use of camera technology has transformed the way stories are told on screen. The show features a unique filming technique where the camera is attached to a drone, allowing for dynamic and immersive scenes. One particularly gripping moment occurs when police officers forcefully break down a door and storm into a house. The camera captures the chaos as a woman collapses to the floor, and it swiftly pans up a narrow, dimly lit staircase. In a matter of moments, a 13-year-old boy is apprehended, and the scene shifts back outside to reveal his distraught family on the lawn. This entire sequence unfolds in just three minutes and is filmed in a single continuous take, a feat that would have been nearly impossible just five years ago, according to Matthew Lewis, the show's cinematographer. Each of the four episodes of 'Adolescence', each lasting about an hour, is shot entirely in one take, known as a 'oner'. The camera frequently follows characters through intense and frantic scenes, seamlessly transitioning from handheld shots to those mounted on vehicles. The lightweight and adaptable cameras used in the production provide filmmakers with unprecedented flexibility. For instance, in the second episode, the camera transitions from filming inside a car to soaring over the streets and then returning to ground level. While there is a slight wobble during the switch from drone to human operator, the transitions are largely seamless, creating a captivating viewing experience. This remarkable achievement is made possible in part by the DJI Ronin 4D, a compact, high-resolution camera equipped with multiple built-in sensors that detect movement in relation to the ground and surrounding objects. These sensors enable the camera's internal mechanisms to compensate for movement, resulting in smooth and stable footage. Tim Palmer, a seasoned filmmaker and professor at Boston University, describes the results as 'phenomenal'. Initially skeptical about the claim that 'Adolescence' was filmed in a single take, he was quickly convinced upon viewing the show. Palmer reflects on the significant advancements in camera technology over the years. In 2014, he worked on a hospital drama called 'Critical', which required lengthy shots in busy hospital corridors. At that time, the technology was limited to joystick controllers that lacked precision. Filmmakers have long sought to capture the vibrant energy of hospital environments. For example, a 1990s BBC series called 'Cardiac Arrest' opens with a hectic triaging unit, where the camera moves back and forth but lacks the dynamic feel of 'Adolescence'. Palmer notes that while gimbals, which are stabilizing devices for cameras, have existed for years, the methods for controlling them and capturing footage remotely have only recently become highly sophisticated. He also highlights the emergence of cameras with built-in filters that can be adjusted remotely, as well as stabilization technology that can be activated or deactivated with the press of a button. 'That's a complete game-changer,' he asserts. Long takes in cinema are not a new concept, with examples dating back decades. The 2015 film 'Victoria', for instance, is a thrilling two-hour and 20-minute feature that its creators claim was shot in a single take. While some have questioned this assertion, cinematographer Sturla Brandth Grøvlen firmly states, 'There are no edits or cuts. ' He explains that the slightly shaky images were intentional, as the director aimed to create a film that felt like footage captured by news crews in war zones. 'It feels very much in the moment, but also like you never know what's going to happen,' Grøvlen explains, emphasizing the immersive experience for viewers. He utilized a Canon C300, a small motion picture camera well-suited for documentary filmmaking. To achieve the desired effect, Grøvlen minimized the weight of the camera by only adding essential accessories and practiced his movements to develop 'muscle memory' for the filming process. 'When they suddenly start running, I have to shift my grip on the camera from holding it on the side handle to the top handle – that way it shakes a little bit less,' he elaborates. The Ronin 4D is DJI's first dedicated cinema camera, according to Brett Halladay, the product education manager at the company. He describes the extensive stabilization technology and the ability of the device to transmit footage wirelessly to on-set monitors, automatically selecting the best available signal frequency. However, there are limitations; the camera is not designed for vertical filming, which has become increasingly popular with the rise of video-sharing apps like TikTok. Halladay acknowledges that while it is possible to shoot in landscape and crop to a portrait format, this may not be the most ideal solution. Other manufacturers, such as Canon, are also producing lightweight Cinema EOS models that are gaining traction among filmmakers seeking increased freedom in their shoots. Barry Griffin, a manager at Canon, notes that these cameras are finding a market among filmmakers who want to shoot in smaller spaces or livestream high-quality shots of hosts and guests. The rise of highly ergonomic cameras could significantly impact the quality of film and television, according to Booker T Mattison, a screenwriter and director who teaches filmmaking at the University of Georgia. 'Point of view is often represented by the camera itself,' he explains. 'It absolutely, 100% allows you to tell better, more dynamic stories. ' However, Carey Duffy, director of product experiences at Cooke Optics, cautions that an overemphasis on one-take television shows could become a gimmick that detracts from good storytelling. Lightweight Cooke lenses were utilized by the creators of 'Adolescence', and Duffy explains that his company designed these lenses to work with emerging lightweight cameras, made possible by the shorter distance between the back of the lens and the image sensor in these newer devices. Nevertheless, Tim Palmer believes that simply filming in one take is not enough to keep audiences engaged. 'Personally, it's not going to make me want to watch something because it's shot in one take – I want to watch these things because they're good.