A take is a single, uninterrupted recording pass of a shot – from "Action" to "Cut".
Technical Details
The length of a take is limited by the recording medium used: 16mm film magazines hold 122 meters (11 minutes at 24fps), 35mm magazines hold 305 meters (also 11 minutes). With digital cameras like the ARRI Alexa, the maximum take length on 64GB memory cards is about 80 minutes in ProRes 422. Each take is assigned a unique slate number consisting of the scene and take number (e.g., 47A/3 for the third take of scene 47A). The data rate determines the practical upper limit: ProRes 4444 XQ consumes approximately 500 MB per minute.
History & Development
The first documented extended take originates from Alfred Hitchcock's "Rope" (1948), where each take exhausted the complete length of a 35mm film reel. Andrei Tarkovsky established the artistic use of long takes as a stylistic device in the 1970s. With the introduction of digital cameras from 2002 onwards, physical magazine limitations were eliminated. In 2014, Alejandro González Iñárritu used takes of up to 15 minutes for "Birdman," digitally composited into seemingly endless sequences.
Practical Use in Film
Stanley Kubrick's famous Steadicam take through the Overlook Hotel in "The Shining" (1980) lasted 4 minutes and 28 seconds and required 27 attempts. For "Boogie Nights" (1997), Paul Thomas Anderson shot the pool party sequence in a single 8-minute take with 16 actors. The workflow requires precise choreography from all involved: actors, camera crew, script supervisor, and sound assistants must act in sync. Multiple takes of the same scene offer the editor different interpretations and performance nuances.
Comparison & Alternatives
A take differs from a shot by its uncut continuity – a shot can be assembled from multiple takes. Sequence shots encompass complete scenes in a single take, while coverage consists of multiple takes of different shot sizes. Master shots establish spatial orientation, close-ups focus on emotions. Modern motion capture systems enable "virtual takes," where camera movements can be defined retrospectively. In low-budget productions, fewer takes per setup reduce costs, while high-end productions often accept 20+ takes for a perfect performance.