内容摘要：The Associated Press receives support from Charles Schwab Foundation for educational and explanatory reporting to improve financial literacy. The independent foundation is separate from Charles Schwab and Co. Inc. The AP is solely responsible for its journalism.

The Associated Press receives support from Charles Schwab Foundation for educational and explanatory reporting to improve financial literacy. The independent foundation is separate from Charles Schwab and Co. Inc. The AP is solely responsible for its journalism.

The result is "phenomenal", says seasoned filmmaker and Boston University professor Tim Palmer.He initially doubted that episodes of Adolescence really were shot in a single take. "As soon as I saw it I knew, no, that was absolutely done in one take."

Camera technology has developed significantly lately, he adds.In 2014, Prof Palmer worked on a hospital drama called Critical, which required lengthy shots in busy hospital corridors. "It was just little joystick video game controllers to make the camera pan and tilt, and that was just not precise enough," he recalls.Makers of such TV programmes have long tried to capture the energy of hospital environments. One episode of 1990s BBC series Cardiac Arrest opens in a hectic triaging unit. As far as I can tell, there is only one cut in the first 10 minutes – but the camera moves rather robotically back and forth. It is nowhere near as dynamic as Adolescence.

Prof Palmer adds that gimbals, stabilising devices for cameras, have been around for years now, but methods of controlling them and pulling footage remotely have only recently become highly sophisticated.He also mentions how some of the latest cameras have built-in filters that can be controlled remotely, or stabilisation technology that can be activated or deactivated at the press of a button. "That's a complete game-changer," he says.

Long single takes are far from a new concept in cinema. There are examples dating back decades.

Take the 2015 film Victoria, a hair-raising, two-hour and 20 minute feature film that its makers say was shot in a single take. Some haveLone Pine said the move is in response to increasingly strong visitor feedback.

“We love that there is a shift among both local and international guests to experience Australian wildlife up close, but not necessarily personal, just doing what they do best - eating, sleeping and relaxing within their own space,” said General Manager Lyndon Discombe.Animal rights groups say they hope this is a sign that the practice - which they argue is "cruel" - will be phased out nation-wide.

They quote studies which have found that such encounters stress koalas out - especially given that the creatures are solitary, mostly nocturnal animals who sleep most of the day.Koalas are a much beloved national icon – priceless in biodiversity terms, but also a golden goose for the tourism industry, with one study from 2014 estimating they’re worth A$3.2bn ($2.14bn; £1.68bn) each year and support up to 30,000 jobs.