longtake

A long take, also called a oner or sequence shot, designates a shot or continuous sequence that runs for an unusually long duration without cuts. It contrasts with the more common style of frequent editing and is used to let time, space, and action unfold in real time.

Creating a long take requires careful planning and coordination among directors, cinematographers, performers, and crew. Techniques often involve precise blocking, complex camera movement, and synchronized performances. Equipment such as steadicams, track and dolly systems, cranes, or handheld rigs may be employed. Lighting and sound must be arranged to sustain a seamless shot, and in some cases hidden cuts or digital stitching are used to preserve the illusion of a single continuous take.

Historically, long takes have appeared across various eras and styles. Notable examples include an extended opening sequence in Orson Welles’s Touch of Evil; the 2002 film Russian Ark, which presents a 96-minute continuous shot through a single building; and the 2015 feature Victoria, shot in a single 138-minute take. More recent productions such as Birdman (2014) and 1917 (2019) use editing tricks or planning to simulate a continuous shot, while films like Children of Men (2006) feature acclaimed long takes that heighten immediacy and suspense.

The long take is valued for fostering realism, spatial clarity, and kinetic momentum, but it can also increase rehearsal and logistical demands and may pose risks if performances or technical notes diverge. It remains a recognized tool for shaping pace, perspective, and viewer engagement in cinema and television.

See also: sequence shot, plan-sequence, oner, continuous shot.