In the limited Netflix seriesAdolescence, each episode unfolds as a single, uninterrupted take, a cinematic choice that immediately immerses viewers in the unfolding drama. This ambitious format was a deliberate artistic choice. Both cinematographer Matt Lewis and series directorPhilip Barantinihad previously collaborated on the independent featureBoiling Point, which also followed the one-shot format. This shared experience allowed them to bring a unique intensity and almost voyeuristic quality to the new series. As Matt explains, “A one-shot creates intensity. It creates slight paranoia that something might happen because you’ve got this lack of editing. We managed to deploy that technique forAdolescenceto make it feel like the camera just happened to be there. It was an inevitable floating force. You never feel like the camera is a filmmaker.”
The decision to filmAdolescencein one continuous shot was a massive undertaking that required meticulous planning, from the writing stage to the final take. The series’ writers,Jack ThorneandStephen Graham, crafted the script with this format in mind, allowing the story to flow seamlessly from one character to the next. The crew and cast treated each hour-long episode like a live theatrical performance, knowing that any mistake would require a complete reset. For Matt, the process was similar to choreographing a dance. The cast and crew had about 2 attempts per day to get each hour long episode right. Matt chose a single, lightweightDJI Ronin 4Dcamera that was passed between operators and even mounted on a drone for one episode, emphasizing the camera’s fluid, continuous motion. “It forces a kind of energy on set, which is really palpable when you’re there,” explains Matt. “I think that also translates into the piece. A true one shot wasn’t any sort of flex. We wanted to try and see if by stripping back and actually not having those opportunities to cut camera, it ends up focusing more on the story.”
To navigate the complex, unbroken shots, Matt relied on detailed preparation and his extensive experience. He used the applicationShot Designerto meticulously map out the camera’s path, memorizing specific lines of dialogue as cues for each movement. Fortunately, the cast and crew had two weeks of rehearsals. Matt used his phone to shoot the rehearsal for reference, in order to plan the camera’s route and see what would work. The lighting was also an integral part of this intricate choreography. Every fixture was practically built into the set and controlled in sync with the camera’s journey through the scene. “Every step the camera takes is choreographed,” says Matt. “There was no room to work it out in the moment. But ultimately, we’re creating a route, a path through a place. So there’s only a certain way you can do that. If you start moving one piece, then you can’t get from that piece to the next one suddenly.”
The one-shot format inAdolescenceultimately served the story, creating a powerful and intimate viewing experience. By stripping away the ability to cut, Matt and the team were able to focus entirely on the narrative, allowing the raw energy and palpable tension of the set to translate directly to the screen.
Illya’s short end:The Cinematography Mailing List(CML) is a great resource for cinematographers and others in the industry to share knowledge and engage in discussions about their industry. CML and Hot Rod Cameras recently teamed up to do a lens test- results coming soon!
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CAMERA: DJI Ronin 4D, with integrated gimbal stabilization
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