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Take

Take is a term in film, television, and music production referring to a single, continuous recorded performance of a scene, shot, or musical segment, captured from the start of recording until it stops.^[1] Multiple takes are typically filmed or recorded for the same setup to allow directors and producers to select the best version based on performance quality, technical execution, or other factors during post-production editing.^[2] The practice dates back to early cinema and has evolved with technological advancements, such as sound recording in the 1920s and digital video in the late 20th century, enabling more takes without the limitations of film stock.^[3] In filmmaking, takes are numbered sequentially—such as "Take 1," "Take 2"—to track iterations, with the director calling "action" to begin and "cut" to end each one.^[1] This process helps refine actor performances, camera work, lighting, and sound, often resulting in dozens of takes for complex scenes to achieve the desired result.^[2] A notable variant is the long take, an extended single take lasting several minutes without cuts, used for dramatic effect in films like Children of Men (2006), where it immerses viewers in continuous action.^[4] In music recording, takes similarly capture full performances of songs or sections, with overdubs or edits applied later, for example in the Beatles' recordings at Abbey Road Studios.^[5] The concept of the take underscores the iterative nature of creative production, balancing artistic intent with practical constraints like time and resources.^[1] Outtakes—unused takes—are often archived or repurposed for behind-the-scenes content, blooper reels, or alternate versions, providing insight into the filmmaking process.^[2] The term is also used in other contexts such as photography and theater. As production techniques advance with tools like virtual production and AI-assisted editing (as of 2025), the traditional take remains fundamental, though the number and method of recording continue to adapt.^[6]^[7]

Filmmaking and Video Production

Definition and Process

In filmmaking and video production, a take is a single, continuous recorded performance of a specific shot or scene, captured from the moment the camera begins rolling until the director calls "cut."^[1] This process integrates actors' performances, camera movements, lighting, and sound recording to create raw footage for editing. Takes are typically numbered sequentially (e.g., "Take 1," "Take 2") and identified using a slate or clapperboard for synchronization and organization during post-production.^[2] The recording process begins in pre-production with blocking and rehearsals to plan actor positions and camera paths, followed by setup on set where the cinematographer adjusts lighting and camera framing, the sound team positions microphones, and props are finalized. Once ready, the assistant director announces "rolling," the camera and sound are synchronized, and the director calls "action" to start the performance. The take continues uninterrupted until "cut" is called, often due to a performance issue, technical glitch, or completion. After each take, the crew reviews monitors or plays back footage briefly, and dailies (daily raw footage) are screened later to select the best versions.^[1]^[8] This practice originated in early cinema around 1890s with pioneers like the Lumière brothers, who captured single takes of real-life events on short film strips limited by technology. The introduction of sound in the late 1920s required more precise takes for dialogue synchronization, while color film in the 1930s and digital video from the 1990s onward reduced costs and enabled unlimited takes without film stock limitations, allowing greater experimentation in video production for television and online content.^[3] In video production, takes often incorporate multi-camera setups for efficiency, differing from single-camera film workflows.^[9]

Single Takes

In filmmaking and video production, a single take refers to capturing a shot or scene successfully in one continuous recording without the need for retakes, relying on precise preparation and execution to achieve the desired result immediately. This approach is used when conditions are ideal, preserving the initial energy and spontaneity of performances.^[1] The benefits of single takes include time efficiency on set, reduced actor fatigue, and retention of authentic, unpolished interactions that multiple attempts might dilute. They are particularly effective for simple dialogue scenes or establishing shots where technical perfection is straightforward. However, challenges arise from the high pressure on performers and crew, as any error (e.g., a flubbed line or lighting shift) requires a full restart, demanding extensive rehearsals.^[10] Historically, single takes were the norm in early silent films due to limited film stock and editing options; for example, Edwin S. Porter's The Great Train Robbery (1903) featured many scenes captured in one take to convey action fluidly. In modern examples, the restaurant tracking shot in Martin Scorsese's Goodfellas (1990) was achieved in a single take (though often classified as long due to its 3-minute duration), showcasing seamless character introductions and building narrative momentum. In video production, single takes are common in live-event filming or reality TV, such as unscripted segments in shows like The Office (2005–2013), where mockumentary style emphasized natural performances.^[11]^[12] Techniques for single takes focus on minimalism, such as using steady camera rigs for smooth movement and pre-lit sets to avoid adjustments mid-performance. Digital tools like high-capacity memory cards further support this by allowing instant playback verification without chemical processing delays.^[13]

Long Takes

A long take in filmmaking refers to a single, uninterrupted shot lasting several minutes or more, typically featuring complex camera movements to maintain narrative flow without cuts.^[14] This technique extends beyond routine single takes by emphasizing duration and intricacy, allowing for seamless progression of action within a continuous temporal and spatial framework.^[15] The technical demands of executing long takes are substantial, requiring precise equipment such as dollies for smooth tracking, Steadicams for handheld stability, or digital stitching to conceal minor interruptions.^[15] Extensive choreography is essential for actors, extras, and crew to synchronize movements, often involving multiple rehearsals to perfect timing and avoid errors in lighting, sound, or positioning.^[16] In pre-digital eras, limitations like 35mm film magazine lengths—typically around 10 minutes—further constrained shots, necessitating innovative resets at natural scene breaks.^[15] Artistically, long takes foster immersion by preserving real-time continuity, heightening tension through unrelenting progression, and enhancing realism by mirroring unedited life experiences.^[17] They also demonstrate directorial prowess, as the unbroken flow underscores meticulous planning and performative discipline, often serving as a stylistic signature to deepen audience engagement with character psychology or environmental details.^[18] The historical development of long takes traces back to early cinema's rudimentary single shots, evolving as an alternative to rapid montage editing prevalent in 1920s Soviet films.^[19] Pioneering efforts in Soviet cinema during the late 1920s and early 1930s, such as Alexander Dovzhenko's Earth (1930), incorporated extended sequences to poetically capture natural and communal rhythms, blending lyrical visuals with social themes.^[20] The technique gained prominence in 1940s Hollywood, exemplified by Orson Welles' innovative applications that prioritized fluid spatial exploration over fragmented cuts.^[15] Digital advancements later expanded possibilities, enabling even longer unbroken illusions. Landmark examples include Alfred Hitchcock's Rope (1948), which simulated a real-time, one-take structure through 10-minute segments joined by hidden cuts on dark objects or pans, creating psychological claustrophobia in a confined setting.^[21] Welles' opening sequence in Touch of Evil (1958) deploys a three-minute tracking shot following a bomb-laden car across a border town, masterfully intertwining multiple characters and escalating suspense.^[22] In contemporary cinema, Alejandro González Iñárritu's Birdman (2014) employs Steadicam and strategic obscurations—like passing through walls or drums—to mimic a 119-minute continuous shot, blurring the lines between backstage chaos and onstage performance to explore identity and illusion.^[23] Despite their impact, long takes present significant challenges, including performer fatigue from sustained intensity and the high risk of technical failures that necessitate restarting entire sequences.^[16] Post-production often involves masking cuts via digital effects, adding complexity to achieve seamlessness, while the pressure of limited retakes amplifies logistical strains on the production team.^[15]

Multiple Takes

In filmmaking, multiple takes refer to the repeated recording of a scene from various angles, such as master shots, medium shots, and close-ups, to supply editors with diverse footage for constructing the narrative sequence.^[24] This practice, known as coverage shooting, ensures that all essential elements of the action and dialogue are captured comprehensively, allowing for seamless transitions and pacing adjustments in post-production.^[25] Key strategies in multiple takes include systematically obtaining wide, medium, and tight shots to cover the scene's spatial and emotional dynamics, often following a "V" pattern that progresses from broader establishing shots to more intimate details.^[24] Directors also encourage actors to vary their performances across takes, exploring different intensities of emotion or timing to capture nuanced interpretations that can be selected later.^[26] The selection process begins with the review of dailies, the unedited raw footage screened daily by the director, cinematographer, and editor to evaluate options.^[27] Criteria for choosing takes include the authenticity of actor delivery, technical aspects like lighting and focus, and alignment with overall continuity, often resulting in the assembly of the strongest elements from different takes.^[28] This approach became a standard practice during the sound era of the late 1920s and 1930s, when synchronized dialogue demanded precise control over performances, contrasting with the longer, less repetitive shots of silent cinema.^[29] The expense of film stock further shaped this method, restricting takes to necessary coverage to manage costs effectively.^[30] In contemporary production, digital recording has lowered financial barriers by eliminating per-foot film expenses, enabling filmmakers to conduct more takes for greater experimentation and refinement.^[31] This adaptability proves especially valuable in visual effects-intensive films, where additional takes facilitate intricate compositing and error correction during post-production.^[32] Multiple takes offer significant benefits, such as enhanced editorial flexibility and the opportunity to optimize performances for emotional depth and technical precision.^[1] Nevertheless, they extend shooting schedules and can lead to actor fatigue from repetitive execution, potentially impacting spontaneity.^[33]

Music and Audio Recording

Definition and Process

In music and audio recording, a take is defined as a single, continuous attempt to record a musical piece or audio segment from beginning to end, capturing the performers' interpretation in real time.^[34] This approach allows for the preservation of spontaneous elements while providing opportunities for refinement through multiple attempts. The concept originated in the early 20th century with phonograph recordings, where artists performed live in a single pass due to the limitations of mechanical reproduction technology, often in acoustic horns to amplify sound directly onto wax cylinders or discs.^[35] It became more formalized during the post-1950s studio era, as multitrack tape recording—pioneered by innovators like Les Paul in the 1940s and widely adopted after World War II—enabled iterative takes, overdubs, and the separation of instruments for greater creative control.^[36]^[37] The typical recording process for a take begins with setup, where engineers position microphones (miking) strategically around instruments and vocals to capture balanced sound while minimizing unwanted noise or bleed between sources, followed by adjusting input levels on the mixing console to achieve optimal gain staging without distortion.^[38] Once prepared, the producer or engineer cues the musicians—often using a click track for rhythmic precision—and initiates recording for a full playthrough until completion or interruption. If errors occur, the session may stop and restart for a new take, or employ punch-ins to re-record only specific problematic sections seamlessly into the existing track, preserving momentum without full restarts.^[39] Takes are essential for balancing the raw, live energy of a performance with the pursuit of technical perfection, as initial runs often yield the most authentic emotional delivery, while retakes allow corrections for pitch, timing, or dynamics.^[40] This duality proved pivotal in the analog-to-digital transition, where early tape-based takes facilitated splicing and editing that digital systems later enhanced with nondestructive multitracking and automation. Key terms include "full take," denoting a complete rendition of the material, and "partial take," which covers only a segment, such as a verse or solo; overdubbing extends this by layering new recordings atop prior takes to build complex arrangements without live ensemble constraints.^[41]^[42] In contrast to film production, where takes integrate visual and audio elements with camera movements and actor blocking, music recording prioritizes acoustic isolation in treated rooms or booths to control sound capture, with less emphasis on spatial choreography and more on metronomic timing via click tracks to ensure synchronization across isolated tracks.^[43] Similar to film, however, the iterative nature of takes in music enables producers to select and composite the strongest performances for the final product.^[34]

Single Takes

In music and audio recording, a single take involves capturing an entire song or musical segment in one continuous performance, typically with the full band or ensemble playing live together without interruptions or subsequent overdubs. This approach relies on the musicians' preparation and synchronicity to produce a complete master recording in a single pass.^[44]^[45] The primary benefits of single takes lie in preserving the organic feel, rhythmic groove, and spontaneous improvisation inherent to live performance, which can be diminished by piecemeal recording methods. This technique is particularly prevalent in genres like jazz, where the improvisational nature of the music benefits from the unfiltered interaction among players, and in live albums that aim to replicate concert energy. For instance, Miles Davis's Kind of Blue (1959) features several tracks captured on first takes, emphasizing modal improvisation and collective flow to create an enduring sense of spontaneity.^[46]^[47]^[48] However, single takes present significant challenges, as they allow no opportunity for corrections or fixes, demanding precise ensemble playing and flawless execution from all participants under real-time pressure. Musicians must maintain tight coordination, especially in complex arrangements, where a single mistake can necessitate restarting the entire performance. This intensity often requires extensive rehearsal beforehand to ensure cohesion.^[49]^[50] Historically, single takes were common in early rock 'n' roll sessions due to limited technology and studio resources. Elvis Presley's "That's All Right" (1954), recorded at Sun Studio, exemplifies this: the track was nailed in one take during a late-night session with guitarist Scotty Moore and bassist Bill Black, capturing raw energy that launched Presley's career. Similarly, The Beatles' "Twist and Shout" (1963) was recorded in a single exhausting take at Abbey Road Studios, with John Lennon's strained vocals adding to its gritty authenticity, as the band had already performed multiple songs that day. These examples highlight how single takes contributed to the unpolished vitality of 1950s and 1960s rock.^[51]^[52]^[53] Techniques for single takes emphasize minimal intervention to retain natural qualities, such as positioning microphones to capture room acoustics for inherent reverb rather than adding artificial effects post-recording. This method leverages the studio's ambient space to provide subtle depth and realism, avoiding the sterility of isolated tracking. Engineers like Sam Phillips at Sun Studio often used simple setups with live monitoring to encourage performer focus.^[54]^[55]^[56] In modern contexts, single takes find renewed application in digital home recording and lo-fi genres, where artists prioritize quick, unadorned captures to evoke intimacy and imperfection. Tools like portable multitrack recorders or DAWs enable solo producers or small ensembles to record full performances efficiently, often embracing minor flaws for aesthetic charm in styles like bedroom pop or indie folk. This approach democratizes recording, allowing rapid idea documentation without extensive production.^[57]^[58]

Multiple Takes and Comping

In music and audio recording, multiple takes involve performers repeating a piece several times to capture variations, from which superior sections—such as the best vocal phrases or instrumental passages—are selected for the final track. This iterative approach allows artists to refine their delivery, addressing inconsistencies in pitch, timing, or emotion that might occur in a single attempt.^[59]^[60] The comping process, short for "compositing," entails editing and layering segments from these different takes to form a seamless composite performance, typically using digital audio workstations (DAWs) like Pro Tools or Logic Pro. This technique became feasible in the 1970s with the widespread adoption of 24-track analog tape recorders, which provided enough channels to record, isolate, and splice multiple performances without overwhelming the medium's limitations. Prior to DAWs, comping required physical tape editing, a labor-intensive method involving razor blades and adhesive to join segments.^[61]^[62]^[63] Producers employ various strategies during comping to optimize results, such as encouraging performers to vary tempos, dynamics, or interpretations across takes to generate diverse options for emotional depth. Focus often narrows to challenging sections like choruses or bridges, where multiple targeted takes can resolve specific issues, ensuring rhythmic alignment and tonal consistency when blended. In DAWs, engineers align waveforms visually, crossfade transitions for smoothness, and may apply subtle pitch or timing corrections to integrate parts invisibly.^[64]^[65]^[66] Historically, multiple takes and comping gained prominence in pop and rock production during the multitrack era of the 1960s and 1970s, where they became essential for crafting the genre's signature polished, larger-than-life sound. Producers like Phil Spector pioneered extensive overdubbing and tape splicing in the early 1960s, layering dozens of elements to create dense arrangements that foreshadowed modern comping workflows, though his "Wall of Sound" emphasized live ensemble recordings edited for impact. By the 1970s, with expanded track counts, comping evolved into a standard tool for vocal-heavy genres, enabling meticulous refinement without compromising studio efficiency.^[61]^[59] Notable examples illustrate comping's role in iconic recordings. During the sessions for Michael Jackson's 1982 album Thriller, engineer Bruce Swedien captured up to 91 vocal takes for tracks like "Billie Jean," selecting and compositing elements from early takes to preserve raw emotion while achieving precision, contributing to the album's pristine vocal layers. Similarly, Adele's 2015 single "Hello" involved extensive vocal comping, where producer Greg Kurstin and engineers pieced together the best phrases from numerous performances to balance her powerful delivery with intimate vulnerability, resulting in a natural yet flawless lead vocal.^[67]^[68] Comping offers significant benefits, including the ability to construct an ideal performance that enhances overall track quality and provides flexibility in post-production mixing. However, it can diminish the spontaneous energy and cohesion of a live single take, potentially making the result feel overly constructed. This has sparked ethical discussions in the industry about authenticity, with critics arguing that heavy comping may obscure an artist's true capabilities, akin to debates surrounding Auto-Tune, though proponents view it as a legitimate creative tool for artistic expression.^[60]^[69]^[70]

Other Contexts

Photography

While the term "take" is primarily used in film and music production, still photography involves analogous iterative processes using terms like "shot" or "exposure" for a single capture or short series captured during a controlled shoot, emphasizing composition and lighting over motion. This process begins with meticulous setup, including camera positioning, lighting adjustments, and subject posing, followed by the shutter release to record the image. Photographers often review the shot immediately on the camera's LCD or via tethered software, making adjustments for subsequent exposures if needed. Multiple exposures are common for bracketing—intentionally varying exposure settings (e.g., normal, underexposed, and overexposed by one stop)—to account for challenging lighting or to ensure optimal tonal range, particularly in high-contrast scenes.^[71] The concept evolved from the single-exposure limitations of early processes like the daguerreotype, introduced in 1839, which required minutes-long exposures on silvered copper plates and produced unique, non-reproducible images. By the 1840s, innovators like Joseph-Philibert Girault de Prangey experimented with multiple exposures on larger plates during travels, such as double images or vertical panoramas, though such methods remained rare due to technical constraints.^[72]^[73]^[74] Key techniques include continuous shooting mode, where the camera records a burst of images while the shutter is held, ideal for action-oriented stills like street photography or fleeting expressions in portraits; photographers then select the best from the sequence during post-production retouching. In fashion and portrait work, multiple exposures facilitate bracketing for light variations or capturing subtle subject movements, ensuring a range of choices for the final image. For instance, Ansel Adams' Zone System, developed in the 1930s with Fred Archer, emphasized precise metering across 11 tonal zones, often involving multiple test exposures to previsualize and bracket for optimal negative density in black-and-white landscapes. Modern street photographers employ rapid-fire bursts to document dynamic urban moments, mirroring the iterative selection process seen in other recording media but prioritizing static compositional precision.^[75]^[76]^[77]

Theater and Live Performance

In theater and live performance, while not termed "takes," rehearsal run-throughs or attempts at live execution without permanent recording serve a similar iterative purpose to refine timing, blocking, and emotional delivery, emphasizing the ephemeral nature of live arts. Each rehearsal builds toward a polished performance. Unlike recorded media, these focus on immediate feedback and adjustment in the moment, fostering collaboration among actors, directors, and crew.^[78] The process begins with blocking rehearsals, often termed "dry runs," where actors mark positions and movements on a taped-out stage without costumes or props to establish spatial relationships and basic choreography. As rehearsals progress, full dress runs function as more complete rehearsals, incorporating costumes, lighting, and sound to simulate the live event, allowing the ensemble to test pacing and transitions under realistic conditions. After each rehearsal, directors provide targeted notes on characterization, energy levels, and technical elements, enabling iterative refinements that enhance cohesion and authenticity.^[79]^[80] Historically, the practice of multiple rehearsals traces its roots to ancient Greek theater, where preparations for dramatic festivals involved ensemble training and run-throughs to ensure ritualistic precision, though detailed records are sparse due to the oral tradition of the era. In modern improvisation, repeated scene iterations replay and vary scenarios to heighten spontaneity and narrative discovery. Techniques such as director notes per rehearsal remain central, with adaptations in experimental theater like site-specific works requiring on-location runs to integrate environmental variables and improvisational responses.^[81]^[82]^[83] A seminal example is Konstantin Stanislavski's early 20th-century system, which employed multiple rehearsal iterations to unearth emotional truth, using repetition to internalize objectives and sensory recall for believable portrayals. In contemporary devised theater, ensembles generate material through iterative rehearsals, collaboratively shaping scripts from improvisations to create original, responsive performances. These approaches highlight the iterative essence of live theater.^[84]^[85] Challenges arise from the absence of retakes in live shows, compelling performers to build progressively toward a singular "final performance" per show, where any errors must be navigated in real time to maintain immersion and audience engagement. This demands rigorous pre-performance preparation to mitigate risks, underscoring the high-stakes ephemerality of the medium.^[86]

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