Everyone is talking about the new Netflix mini series pubertyconsists of 4 episodes, and is shot once in each episode.
The technical execution of the show is indeed amazing. As I watch every episode, I have to continue reminding myself that the camera has never been cut. It seems almost impossible.
One of the most dynamic lenses is that the camera shrinks through windows, hikes and chases, flies to the sky on the drone, and then returns to the ground to capture the reaction footage.
Apart from the tech brilliance, what really sets it apart is that the execution perfectly matches the story and vision.
Most shorts or feature films will feel the head. They could have (usually should have been) shot in a standard way. It seems like the filmmakers decided to do it was cool, but didn’t really think about whether it would hurt their final product rather than helping it.
puberty The exact opposite. I really think that if shot in a traditional style, it wouldn’t be that powerful. Despite the excellent performance, the story and other factors.
With that in mind, here are a few things to separate puberty Shooted in the same way from many other projects.
Building tension
Although it is full of tension in the story and characters pubertyand there are self-evident tensions from photographers. More specifically, the lack of editing.
As a rule of thumb, keeping the lens creates tension when you edit. Cut to release it.
Since there is no cut throughout the series, tension begins to build quickly. It’s almost a subconscious thing – you get lost in the story and quickly stop thinking about how it was filmed.
But at the level of the viscera, you still feel a lack of cutting and the strength that comes with it. Under normal circumstances, the energy captured by a certain amount of energy will not be the same.
Release tension
Most one-thing projects suffer from rhythm problems and lack the natural ebbs and flows found through the fully edited projects.
pubertyAgain, it is an exception. Each plot has a very organic progress and provides a moment of relief in due course.
More intense and complex scenarios are usually very simple scenarios. For example, when the camera flies into the corridor, the camera can be transferred from the character to the character. Eventually, we landed only in a room with only 3 characters.
Then it becomes quiet. When the scene is played, the camera sits on one side of the room for a few minutes.
These moments feel like they are traveling for the audience. Many of the fake “one-hit” movies (and using VFX/sewn to sell effects) can’t achieve this.
exist pubertynothing can be cut off. Therefore, filmmakers inevitably build in certain scenes that are less intense. Not only does this serve the story, but it can also tactically reset them, hand them over to other operators, and collect some energy before entering the next sequence.
This is a perfect example of making choices that meet the narrative and production needs as well.
Performance quality
The second is camera work, the greatest praise puberty Related to incredible performances. The lead actor has never done a movie or TV show before, but as good as the rest of the actors.
This part comes down to rehearsal time.
In many works, rehearsals do not exist. Or only a few days can be limited to the maximum. However, during adolescence, there is no choice but to rehearse the series countless times in order to pin it perfectly before using the camera.
I can only imagine the complexity of these rehearsals. It’s like a stage game on steroids, with hundreds of other technical and creative variables to consider.
Ultimately, this means the actor has a lot of time with the material before starting. Once they go to the camera, they get 10 full episodes.
In your average production, the actor may get 3 or 4 times for a given scene. The combination of intense rehearsals, combined with a full 10 circles to iron the kink, really made the actors spread their wings.
Fight with dialogue
In some plots, only 2 or 3 characters of dialogue sequences may be involved. These types of scenarios always risk feeling slow or bored, but this is never the case here.
The conversations of adolescence are elaborately crafted to build more peaks and valleys into longer scenes.
The goals that filmmakers cannot achieve by cutting or more manipulating editing techniques can be achieved through dialogue and performance alone.
This turns into some of the most coveted parts of the movie. As an audience, you always feel like you are in good hands. Moreover, filmmakers are keenly aware of how to intensify dialogue and performance tension to offset some moments with less visual dynamics.
Reaction lens
Another way the filmmakers really make things interesting is by using the reaction lens.
Through traditionally produced shows, editors usually cut down on the actors who speak. Reactions are only occasionally thrown when necessary.
But in adolescence, there is no choice but to take a different approach. The camera can’t whip back and forth between actors all the time. So instead, it will be on the key part of an actor’s conversation, but with off-screen characters being with them while they speak. It will then float to the next character and do something similar.
Sometimes the camera is the person who is talking, but usually not. Those moments that land on the reaction are usually the most interesting.
These shots happen not only by chance. It’s obvious that watching the show, every moment of each scene is carefully planned. Including when to focus on reactions and direct conversations.
All in all, this is probably a favorite example of a movie production I’ve ever seen.
It elevates the story in various ways, provides a more intense experience, brings some incredible performances, and pushes the boundaries that can be found on the technical level.
While most movies don’t work in this format, many of the strategies here can still benefit them. Whether it’s extra rehearsal time, control over tension or honing in the focus of any given scene.
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