Best printers for Home

Best Mixer Grinder

Best wired Earphones

Best 43 Inch TV in India

Best Wi Fi Routers

Best Home Theatre in India

Smart Watch under 5000

Best Laptops for Education

Best Laptop for Students

Raktanchal, Golkeri, America’s Got Talent and other shows that you can watch on Amazon Prime Videos, Voot Select, and MX Player

<ul class="summary-list"><li><keyword id="128682" type="COMPANY" weightage="60" keywordseo="Netflix">Netflix</keyword>'s new action <a href="https://www.insider.com/category/movies">film</a> "<keyword id="6406346" type="UNKNOWN" weightage="60" keywordseo="extraction">Extraction</keyword>" stars <a href="https://www.insider.com/category/chris-hemsworth">Chris Hemsworth</a> as mercenary Tyler Rake.</li><li>The film's standout action sequence is shot to look like one long continuous take, which is stitched together with invisible cuts.</li><li>To capture the non-stop flow of the action, director <keyword id="4806728" type="PERSON" weightage="60" keywordseo="Sam-Hargrave">Sam Hargrave</keyword> did everything from strapped himself to the hood of a car, jumped off a balcony, and chased after Hemsworth on foot through narrow hallways.</li><li><a href="https://www.insider.com/?hprecirc-bullet">Visit Insider's homepage for more stories</a>.</li></ul>Following is a transcript of the <keyword id="21654" type="COMPANY" weightage="60" keywordseo="video">video</keyword>.Narrator: That's not just any stunt cameraman. That's Sam Hargrave, the director of Netflix's action movie "Extraction."To create this one shot required a complicated maneuver. First he unstrapped himself from the hood of a car, then he ran over to another car to film inside, and then he had to repeat the same shot from two different positions precisely to allow for a seamless final edit.The result was this: a shot that goes smoothly from outside a fast-moving vehicle to inside the car without any visible interruption. And that's just three seconds of a 12-minute-long sequence filmed to look like a single shot, which required camera moves by foot and by harness, complex stunts, invisible cuts, and a cast that could endure extended fight scenes.The director wanted the audience to see the complicated act of mercenary Tyler Rake extracting the kidnapped Ovi happen in real time and felt that one long take was the way to do it. The entire sequence consists of a car chase, then a chase up some stairs, a fight in a building, a jump from one rooftop to another, a tumble off an awning, a fight in the street, and one final car chase, which amounts to about 36 different segments attached together, creating an impressive 12-minute, seemingly continuous scene.From planning to shooting, it took approximately four to five months to bring this one sequence to life. First they looked at large maps of the location in India and highlighted routes where they would be shooting the scene. Then they choreographed the chase shots using toy cars, labeling each one carefully.Sam Hargrave: One of the logistics, 'cause it's not just me and a camera and, you know, <keyword id="6369639" type="DEFINITION" weightage="60" keywordseo="Chris-Hemsworth">Chris Hemsworth</keyword> in a car. There's hundreds of people involved in making this happen, so where do you stage them? It was a really intense, technical puzzle to solve.Narrator: Hargrave is no stranger to big, one-take action scenes. On top of being a stuntman and coordinator for multiple Marvel movies, he famously choreographed the memorable 10-minute, one-take fight scene in "Atomic Blonde."While most movies might require one or two location scouts, this movie required seven to eight. During scouting, the crew needed to find the most narrow and claustrophobic streets possible as well as buildings that provided passageways for easy, continuous shooting.Sometimes they would alter the location to fit the sequence, and other times the location would alter what the script looked like. For example, while this one building offered the perfect balcony for Chris Hemsworth and Randeep Hooda to start fighting, it did not have an awning that allowed their characters to tumble off the building, so the crew constructed one.Before actually shooting the scene, all of the stunts were rehearsed and filmed on location.Hargrave: We were testing and proving everything so that when we got there, there were no unanswered questions. We knew exactly where stitches were gonna happen, how were we going to, you know, throw this person over a balcony and capture that.Narrator: The sequence beings with a car chase. This is when Hargrave strapped himself to the hood of a vehicle. The small vehicle allowed him to squeeze through some tight spaces, like this tunnel. Most movies film car chases using a pursuit arm, which is a camera mounted to a vehicle meant to follow action. You can see one used during the chase scenes though the streets of Busan in "Black Panther."So, why do this instead? Stylistically, it allowed them to switch more seamlessly to a handheld style when they needed to. Practically, it allowed for mobility for shots where the camera switches perspective from outside Tyler Rake's car to inside.Hargrave's vehicle had to pull up directly alongside Rake's car, then Hargrave unclipped himself and put the camera as far inside the car as possible. Then, once he could get inside the car, he leaned out the window and then pulled the camera back in to reshoot the same action and the same background. This allowed the two shots to be stitched together. Hargrave said that he had to replicate it precisely, and if he was off by even a few degrees, they would have to shoot it all over again.Eventually, they have to get the two main characters out of the car and onto the street. In order to get the camera to leave the car without a cut, the window needed to shatter during this crash.The camera was hard-mounted inside the car and then put onto a slide, where it could then be pushed through the now empty window space so Hargrave could grab it and continue the shot up a flight of stairs as he chased a group of cops and then eventually met back up with the two main characters.That's where things got complicated. Because the hallways were only about three and a half feet wide, he had to avoid stepping over fallen bodies or running directly into the fight. And when you see the camera back up and eventually follow Ovi away, Hargrave had to count the exact number of steps he was walking backwards so he wouldn't crash into a wall.Hargrave: To get that right, I think we had to do, I think it was 21 takes.Narrator: And because the crew was so mobile, they had to rely on natural light as much as possible to light scenes. Lighting kits were only used when necessary, like inside cars and inside the truck.While this was all one long, continuous take, they still needed to call "Cut!" at some point. So the sequence is full of invisible stitches, like when the window was shattered.Hargrave: Sometimes, the places, the locations, weren't right next to each other and they weren't sequentially, you weren't able to shoot and move through them sequentially.Narrator: When Ovi ducks into a room and starts throwing objects, that doorframe was used as a stitch point. In reality, they recreated the room in another building down the street.Hargrave: It was, like, you know, 10 blocks away because the room had more access, had more space to shoot.Narrator: If not done correctly, this can create a continuity nightmare. So to successfully cobble these shots together, they had to recreate the first doorframe in the second location, so they looked exactly the same in both places.Hargrave: That actual location where he comes out is another place where we had to stitch, and that was just a couple doors down from that location 'cause what we're trying to, you know, get the person to believe is he goes in that door, goes down the room, and comes out, you know, not far away where Chris still was.Narrator: Stitches were also necessary for some of the more dangerous stunts. When Tyler jumps from one roof to another, they had to switch from Hemsworth to his stunt double. So they put in a stitch right here, as the shot switches to the back of the character's head, allowing Hemsworth to swap out with his double.Stunt doubles came in again when Hemsworth and Hooda's characters tumble off a balcony and into the street. Director: Three, two, one, go!Narrator: Here's Hemsworth watching as his double, Bobby Holland Hanton, took the fall. This was one of the hardest shots to capture and was as much a stunt for Hargrave as it was for the actors. Hargrave said that, normally, a shot like this might have anywhere from four to five cameras. Hargrave: Whatever they'd give me, as many as they could, so that you could, if something goes wrong or if the pacing's off, you could cut around it.Narrator: With just one camera...Hargrave: Because I wanted to be close to them to feel the impact of the fall but also wide enough to see the fall.Narrator: So to get the shot, Hargrave jumped off the balcony and over the awning with them, roped into a pulley system. It allowed him to hop right behind them as they fell and then got on the ground right on time. After five tries, they got it right.Then the two actors continued to duke it out in the middle of the street. Because there are no visible cuts and the camera had to keep rolling and rolling, the fight scenes were especially challenging for the actors. Because they couldn't cut to different angles, there was no way for them to fake it. The actors would also have to be ready to move as a small vehicle goes right between them during the fight, a detail they incorporated after location scouting.In the final stretch of the sequence, Tyler and Ovi steal a truck for one last big chase. They actually did use a special vehicle with a pursuit arm for this part. This was the only way they could physically keep up with the one-unbroken-take illusion.Hargrave: We had a camera vehicle so that we could race up beside the truck and get into the car deeper than I could. When I was safety-ed in, my arms only go so far. But we could get this action vehicle in a little deeper to the car.Narrator: CGI came in handy for the moment where Tyler and Ovi jump out of the truck. According to Hargrave, the jump was originally just hinted at. However, in the editing room, they decided they wanted to actually show it, but this location was no longer available. So first they had to rebuild the street and tunnel on an airport tarmac in Thailand. There, they had the stunt doubles leap out. After that, they worked backwards by having the two actual actors recreate the moment before the characters jumped out of the truck in front of a green screen. So this shot of them about to leap out of the truck and them actually falling out is two different shots in two completely different locations connected seamlessly.When the truck flips over, the continuous take ends.While it was important to keep the momentum going and always have something exciting happening on screen, Hargrave also found the best way to keep the audience engaged throughout was by pulling back. In the moments before Tyler and Ovi jump off the roof, there was supposed to be a huge fight on the roof, but Hargrave decided to scrap it.Hargrave: There's been so much action before, and there's about to be so much more. And we can't make this decision in the editing room. We can't just, you know, cut around and say, "Well, let's speed this up." We said, "I think right now we're overloading the audience with action. We need to take a break, we need to, like, insert a little joke here." Narrator: So they settled with this unscripted moment of comic relief.Tyler: All right, kid, you trust me?Ovi: No.Tyler: Good.Ovi: No!Read the original article on <a href="https://www.insider.com/netflix-extraction-chris-hemsworth-one-take-fight-scene-2020-5">Insider</a>

How Netflix's 'Extraction' filmed a 12-minute fight scene to look like one take

<ul class="summary-list"><li>One take scenes are shot in long, unedited segments and then stitched together.</li><li><a href="https://www.insider.com/category/movies">Movies</a> like "<keyword id="6406346" type="UNKNOWN" weightage="60" keywordseo="extraction">Extraction</keyword>," "<keyword id="4275121" type="PERSON" weightage="60" keywordseo="Atomic-Blonde">Atomic Blonde</keyword>," and "<keyword id="302094" type="ORGANIZATION" weightage="60" keywordseo="SPECTRE">Spectre</keyword>" often hide the cuts by having characters walk through doorways or even walk in front of the camera.</li><li>In order to travel light and capture characters on the move, <a href="https://www.insider.com/category/oscars">Oscar</a> winners "<a href="https://www.insider.com/category/1917">1917</a>" and "<keyword id="1025564" type="PERSON" weightage="60" keywordseo="Birdman">Birdman</keyword>" relied on small cameras and natural light.</li></ul>Following is a transcript of the <keyword id="21654" type="COMPANY" weightage="60" keywordseo="video">video</keyword>: Abby Tang: This epic trench battle from "<keyword id="3012877" type="PERSON" weightage="60" keywordseo="1917">1917</keyword>" was shot to look like one long take. And it was a huge challenge for both the cast and crew. It involved multiple cranes, speeding trucks, and perfectly timed handoffs. But this is just one example of a one-take scene, or a "oner," that pushed filmmakers to their limits and required impressive technical innovations. Here's how eight movie and TV scenes were shot to look like one long take.One-take scenes are naturally suited for intense action, as you can see in this fight scene in "Atomic Blonde." Despite shooting in a real building, the crew still had to alter the set to accommodate the oner. For example, they built this elevator, which helped create a natural stitch point, a way to hide the moment the camera cuts and keep the continuous illusion going. They also used another stitching technique called body crossing, in which a cut is hidden when a performer blocks the camera, as seen here with this henchman. Because the fight was shot to look like one take, it needed to be shot in chronological order. So the effects team had to constantly apply new makeup to Charlize Theron and the other characters as the fighting continued and injuries increased. Charlize did her own stunts for a large part of this sequence. However, for some of the riskier moves, the crew subbed in her stunt double, Monique Ganderton. For example, the director used motion blur when Charlize had to fall down the stairs and slam into a wall. That's actually Monique tumbling down the stairs before switching back to Charlize hitting the wall.Unlike "Atomic Blonde," Netflix's "Extraction" hops from location to location, as opposed to just one building. The entire sequence goes on for about 12 minutes and consists of approximately 36 segments cobbled together. The nonstop action required director Sam Hargrave to do some stunts of his own. For this car chase, he strapped himself to the hood of another vehicle and then had to quickly unstrap himself and place the camera inside the other car. He then had to replicate the same shot backwards by leaning out the car once he was inside. This helped create a natural transition point. If Sam's position was off even slightly, they'd have to shoot it all over again. Then for this shot, where Chris Hemsworth's stunt double tumbles off an awning, Sam roped himself into a pulley system to get up close to the action. The sequence also fools the eye in many other ways. For instance, when Ovi runs through this doorway, he is actually running into a room in a different building 10 blocks away. The crew had to change locations to one where there was more space to pull off the upcoming action. And like with "Atomic Blonde," they frequently swapped out Chris with his stunt double, Bobby Holland Hanton. The first shot you see here is Chris' face. They could then pan to his double without anyone noticing by shooting the back of his head.For the Day of the Dead parade scene in "Spectre," cinematographer Hoyte van Hoytema wanted to start big and then go small and intimate. That meant starting wide with parade shots, then getting in closer to the marchers before following Bond into a hotel room. To pull this off, Hoyte used a technocrane. The crane started high and then lowered down into the crowd without cutting. A Steadicam operator then jumped off, pushed farther into the crowd, and followed actor Daniel Craig up to the hotel room. While the street scenes were shot in Mexico, the hotel room was actually set in the UK. The crowd scenes featured 1,500 extras. According to ILM VFX supervisor Mark Bakowski, since they couldn't get a perfect shot where every extra looked the right way at the right time, the VFX team inserted digital masks over their faces.Sometimes oners are limited by the space they're shot in, which means the crew needs to be a bit more creative. In the season two premiere of "The <keyword id="7948567" type="UNKNOWN" weightage="60" keywordseo="Marvelous-Mrs-Maisel">Marvelous Mrs. Maisel</keyword>," cinematographer M. David Mullen had to lead the camera through a fictional department store, through a mail slot, and then into the small room where Midge Maisel works as a switchboard operator. Unlike other continuous shots, there were no wide spaces for the camera to pass through -- just five feet of space between these two rows of actresses. For both cameraperson and performer, it was about precise timing. The space was so tight that the actresses had to lean back so they wouldn't get hit by the camera. Then, when the camera went through the center of the room, actresses wheeled around in their chairs so they wouldn't block the shot.For "Birdman," it wasn't just one scene, but the entire movie that needed to look like one long take. According to director Alejandro González Iñárritu, some of the takes were up to 20 minutes long. Because of the amount of movement in the film, "Birdman" was shot using small handheld cameras and Steadicams. These allowed the crew to more easily follow the cast as they walked through New York's crowded streets. This also meant the crew couldn't use typical large light kits. So, according to cinematographer Emmanuel Lubezki, they instead relied on natural and practical lights in the scene, like these colorful light bulbs above Michael Keaton and even the lights emitting from Times Square. "Birdman" wasn't just a challenge for the crew; it was also a huge endeavor for the cast. According to Emma Stone, if she flubbed even a single word, she'd have to start again from the very top.Like "Birdman," "1917" was also filmed to look like one single take over its entire two-hour running time. But it was even more complicated due to its epic battle sequences. Pulling this film off involved the most careful planning imaginable. Every set was precisely measured out and could be no longer than the length the camera could travel. Since the crew was constantly on foot, they relied almost entirely on natural light. Look at the scene where Schofield runs through a destroyed city. It was lit up by flares in the sky. Because the flares were the main light for part of the scene, the crew needed to time exactly how long the flares needed to be in the air. They figured this out in preproduction, where they ran a light above a mini model of the set to see where exactly all the shadows would fall. Of course, the film also relied on stitch points, like here, when Blake and Schofield walk through a black curtain. But most of its magic was accomplished using innovations in technology. For example, Schofield's journey downriver was captured by a drone. Meanwhile, lighter and smaller cameras allowed the crew to move through trenches and difficult terrain with ease. Then, to get across no man's land, cinematographer Roger Deakins and the crew attached cameras to a cable system above the set. This shot, where Schofield runs through a destroyed city and jumps off a ledge and into a river, was too dangerous to do in real life. So the part of him running was shot on set, while the jump was actually shot using CGI with a swapped background that allowed for a seamless transition. Shooting continuous takes means it's hard to call "cut," so it's not ideal for making mistakes. But this moment here, where actor George MacKay runs alongside the trench and then trips, was not intentional. But in the end it felt natural, so it stayed in the movie.The entire set for this episode of "The Haunting of Hill House" had to be built specifically to accommodate a single shot. Take a look at this elevator. It was designed to lower the cameraperson down to the next floor and allow them to capture the shot of Olivia and Hugh running down the stairs without a break. Because the camera goes between Hill House and the funeral home in the episode, the two stages were actually built adjacent to each other and connected by a hallway. This allowed the camera to follow Hugh as he walked directly from the funeral home into the house. Oners are frantic by nature, and they involve a lot of movement and setup changes. The "Hill House" set had places throughout for the crew and their equipment to hide whenever the camera turned in their direction. Like with "Birdman" and "1917," "Hill House" also demonstrated the challenges of lighting a oner. If an actor missed a cue, they wouldn't be lit properly. So series creator Mike Flanagan came up with a unique solution. When he clapped these two wood blocks together, the cast member knew what to do. [blocks clapping]One-take scenes aren't just used to show movement from place to place. They can also be really useful in showing the passage of time. This scene from the Showtime series "Kidding" shows the character Shaina watching "Mr. Pickles' Puppet Time" on her TV as her life progresses and improves around her. The shot captures five years of her life over the course of one minute and 42 seconds. Because the camera had to circle constantly around the room as it changed, this endeavor was an absolute mad rush for the cast and crew. To show the passage of time, the camera operators circled around the room. Each area of the room would show a new development in Shaina's life. So whenever the camera wasn't focused on them, the 50 crew members had to swap out furniture and bring in new props. Then this wall slid over into the kitchen. While that was happening, actress Riki Lindhome had to go through multiple costume changes, some of which involved using a body double.What are some of your favorite one-take scenes? Let us know in the comments.

You Searched For "ovies on netflix" and got 3 results

Raktanchal, Golkeri, America’s Got Talent and other shows that you can watch on Amazon Prime Videos, Voot Select, and MX Player

BI India Bureau

How Netflix's 'Extraction' filmed a 12-minute fight scene to look like one take

Ian Phillips,Kyle Desiderio

How 8 TV and movie scenes were shot to look like one take

Ian Phillips,Ben Nigh

Popular Keywords

Buying Guides