When filming Rope (1948), Alfred Hitchcock intended for the film to have the effect of one long continuous take, but the cameras available could hold not more than 1000 feet of 35 mm film. As a result, each take used up to a whole roll of film and lasts up to 10 minutes. Many takes end with a dolly shot to a featureless surface (such as the back of a character's jacket), with the following take beginning at the same point by zooming out. The entire film consists of only 11 shots.[a]
Andy Warhol and collaborating avant-garde filmmaker, Jonas Mekas, shot the 485-minute-long experimental film, Empire (1964), on 10 rolls of film using an Auricon camera via 16mm film which allowed longer takes than its 35 mm counterpart. "The camera took a 1,200ft roll of film that would shoot for roughly 33 minutes."
A handful of theatrically released feature films, such as Timecode (2000), Russian Ark (2002), PVC-1 (2007), and Victoria (2015) are filmed in one single take; others are composed entirely from a series of long takes, while many more may be well known for one or two specific long takes within otherwise more conventionally edited films. In 2012, the art collective The Hut Project produced The Look of Performance, a digital film shot in a single 360° take lasting 3 hours, 33 minutes and 8 seconds. The film was shot at 50 frames per second, meaning the final exhibited work lasts 7 hours, 6 minutes and 17 seconds.
The police procedural series The Bill used long takes to achieve a documentary style effect. Other examples include The X-Files episode "Triangle" (season 6, episode 3), directed (and written) by the series creator Chris Carter. The technique is also frequently used in ER, which fits with the show's use of Steadicam for the majority of shots. An episode "The Inheritance / C.I.D. 111" of the Indian suspense drama C.I.D., broadcast on 7 November 2004, is a 111-minute-long single take. It currently holds the Guinness World Record for the longest single shot for TV.
Another example from television can be seen in the first season of HBO's True Detective. In episode four, "Who Goes There", protagonist Detective Rustin Cohle (portrayed by Matthew McConaughey) is undercover as part of a biker gang who have decided to brazenly rob a drug den located in a dangerous neighborhood. The shot begins with the bikers arriving to the drug den with McConaughey's character reluctantly in tow. The six-minute shot moves in and out of various residences, through several blocks and over a fence while shots are fired by shouting gangsters, bikers and police as they arrive on the scene. McConaughey at first assists the biker gang, then turns on them to abduct the leader, dragging him along for more than half of the continuous shot. Director Cary Fukunaga commented to The Guardian, "We required the involvement of every single department, like a live theatre show. We had make-up artists hiding in houses so they could dash out and put make-up on [Cohle's hostage] Ginger's head. We panned away for a second to do that. We also had ADs peppered around the neighborhood with extras who had specific things to yell and specific places to run. We had stunt guys coordinating with stunt drivers to pull up at the right time, special-effects guys outside throwing foam bricks and firing live rounds."
The John Wick series of films are known for their long take fight scenes. This was due to the budgetary constraints of using only a single high-end camera for all the filming, and required close choreography with the various extras involved in the fights, having to run behind the camera after being one of the first fallen attackers as to come in again as a new attacker.