Yes ok The first films in the history of cinema were in a shot And that did not prevent assembly inside (you have now in cinemas Lumière! The adventure continues, A superb selection of the brothers’ shorts Lumière), Then things got complicated. Once the assembly and the relationship between planes as key elements of cinematographic language were instituted, the creative need to challenge them.
Long shots, without cuts and with abundant camera movement seduce by their Technical difficulty, preparatory complexity, high economic cost and great immersive capacity, becoming a score of artistic splendor to which many directors have aspired throughout history, with examples as celebrated as Alfred Hitchcock, Orson Welles, Max Ophuls, Martin Scorsese, Brian De Palma, Béla Tar either Alfonso Cuarón.
If on the big screen the sequence planes (whether strict resolutions of a sequence in a shot, or simply very long planes without cuts) look great, What about television? The series have also joined a trend that digital cameras, with their lightness of movement and infinite recording time, and postproduction touch -ups for imperceptible splices, have multiplied.
The sequence planes of ‘adolescence’
One of the most prominent points of Adolescence It has been the technical and human deployment to successfully perform the feat of counting the series in four episodes of a single shot, close to the duration. In addition, each of them has a narrative purpose that serves as an example for various majority uses that are usually given to the sequence planes and long planes without cuts.
Is the immersion within overflowing environments of characters and action for the four sides in episodes 1 (police station) and 2 (school) with a camera that changes locations even via dron. But also the Real -time pulse which makes episode 3 more overwhelming (session with the psychologist) and the suspense of the Follow -up attached to the body of the character of Stephen Graham along episode 4.
Next we will review some of the better plans without cuts from the history of television series, Many sequence plans but others simply some of the biggest technical virguerías that have given us the fictions of the small screen. They are not all, so feel free to tell us if any of your favorites is missing.
‘File X’ (1998)
Back in the twentieth century, when the plans without cuts were not so extended in the television medium, the Episode 3 of season 6 of File x –Theytulate Triangle and directed by the own Chris Carter– It was a feat of another time when rolling In real time and four 11 -minute planes Without more interruptions than technical limitations, as happened to Hitchcock in The rope (1948); although here we had to hide some more cut to allow a respite to the Steadicam operator.
‘Buffy, HuntVampiros’ (2001)
TO Joss Whedon The lustrous sequence plans pirmed, as it made clear so much in their other series (Angel and Firefly at the head) as in his Avengers films. The traumatic Episode 16 of season 5 of Buffy, vampire hunting, entitled The Body, It is not the longest or most complicated, but the most remembered (and cried) by fans. A heartbreaking real -time monitoring of the desperation of the character of Sarah Michelle Gellar After finding his mother’s lifeless body.
’19 -2 ‘(2014)
One relatively Little known, but brutal and very colorful. In addition, this Canadian remake in English replicates the equivalent moment in the original Quebaquesa series. There are 13 minutes of immersion in the police procedure to try to avoid a shooting in a school that can bring you both the monitoring plans of Elephant (2003) as the second episode of Adolescence.
‘True Detective’ (2014)
The series that we can blame for a new era of obsession with the sequence planes in the police genre (and in the action cinema) is True detective, specifically to Episode 4 of his season 1, directed by Cary Joji Fukunaga. The injured assault of the end includes a six -minute outlet with Steadicam whose approach and development have been copied to satiety in infinity of subsequent titles, including the colossal battles of Game of Thrones.
‘Daredevil’ (2015)
A tradition consolidated since the first season of the series of Daredevil starring Charlie Cox is that each new delivery contains a Long ultraviolent fighting scene in continuous plane without cuts. In the stage of Netflix, The matter was refined from a very debtor scene in the hall of Oldboy (2003) until A authentic 11 -minute savage in the third season. Daredevil: Born Again, Already in Disney+, he tried to innovate starting with one of these, but orchestrated in depth instead of lateral movements.
‘MR. Robot ‘(2017)
A director as ultraformalist as Sam Esmail He also tested his skills for the acrobatic plane without cuts in the opening sequence of the Episode 5 of season 3 of the series starring Rami Malek. As in most of these cases, the scenario changes and more complicated splicing moments had the help of digital postproduction touch -ups to be imperceptible.
‘The Hauunting of Hill House’ (2018)
The series of Mike Flanagan extremely increased the terrifying potential of its Episode 6 with a succession of five planes full of chills but without cuts, the longest of which He left until 18 minutes and moved between different locations and temporal moments. Of absolute fear.
‘Kidding’ (2018)
A staging specialist wired and full of trapantojos such as Michel Gondry, Vanguardist of the musical video clip of the change of the century, orchestrated one of the plans without cuts Old School more complicated of the decade in the Episode 3 of the series starring Jim Carrey. Of course, it was Jake Schreier (Thunderbolts*) who directed this chapter where five years of rehabilitation in the life of the character of Riki Lindhome They pass in two minutes without interruption but a lot of stage movement between racks.
‘Patriot’ (2018)
A “more traditional video clip sequence plan is the one that executed Steven Conrad in it Episode 3 of season 2 from your series starring Michael Dorman in which a background song marks the follow -up without cuts of the character since it takes the subway to hit in a power store until the return is caught with a precise knowledge of the frequency of the Parisian suburban passage to coordinate the beginning and the end.
‘The collapse’ (2019)
If you are looking for another series that poses each of its episodes as an effort sequence plan, you are surely interested in taking a look at this influential work of the French collective Les parasites (Jérémy Bernard, Guillaume Desjardins and Bastien Ughetto). The collapse portrays the different stages of a relentless social, economic and environmental collapse during 8 episodes of about 20 minutes, All of them in a single shot that transmits the urgency of the situation.
‘The Bear’ (2022)
Of course the series of Christopher Storer, So concerned about transferring the anxiety of a kitchen, she took advantage of the possibilities of the unique take to increase the counterreloj agobio of a work day between the stoves of Jeremy Allen White and company. There are 18 minutes without cuts that were issued a year after Boil (2021), the movie of Philip Barantini With Stephen Graham (director and actor of Adolescence) With a similar approach in a restaurant.
‘Monsters: the story of Lyle and Erik Menendez’ (2024)
One a little different to finish. He Episode 5 of season 2 of this criminal anthology produced by Ryan Murphy, directed by Michael UPPENDAHL, It arises as A single 34 minutes plane in which the camera progressively performs a soft zoom on the face of Erik Menendez (Cooper Koch) while describing the sexual abuses to which he was subjected by his father.
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