The ram that the police hit hit hit three strong knocks and the front door erupted. Screaming.

As we followed the heavy officer into the house, a woman fell to the floor as the camera turned left, and we raised our heads toward a small, dim staircase, leaning his back against the wall, hands up, and yelling, to no avail.

Within a moment, a 13-year-old boy was arrested and we returned outside in the morning light. The family screamed on the front lawn as the camera returned to the boy, now in custody of the dark interior of a police car.

All of this happens in three minutes. In one breath. This is an early scene of the popular Netflix show’s adolescence, which was watched by more than 120 million people around the world in the first month.

The show’s photographer Matthew Lewis claimed in a recent interview that it was impossible to shoot a sequence like five years ago as it was five years ago. Each episode of the puberty episode of about an hour was shot entirely with one hit, known as "Oner", and the camera often follows the characters through crazy scenes, or converts from a handheld computer to a vehicle-mounted shoot.

The lightweight, automatic stable camera that can adapt to the huge changes in ambient lighting has triggered a small revolution in the film and television industry.

For example, at the end of episode two of puberty, the camera shoots from inside the car to crossing the road, flying over nearby streets, and then flying toward the ground again.

You can almost detect transitions from drone to human operators - there are tiny swings - but unless you are looking for them, these transitions are actually seamless.

The DJI RONIN 4D section makes it possible, a small high-resolution camera with multiple built-in sensors that can be used to detect movements related to floors and nearby objects.

This allows the internal mechanism to compensate for that movement and obtain a smooth, stable lens.

Tim Palmer, an experienced film producer and Boston University professor, said the result was “amazing.”

Initially, he suspected that the plot of adolescence was indeed a single shot. “As soon as I saw it, I knew, no, it was definitely done on one hand.”

He added that camera technology has developed to a large extent recently.

In 2014, Professor Palmer worked in a hospital drama called Criticism, which required long shots in busy hospital corridors. "Putting the camera pan and the tilted video controller is just a tiny joystick video game controller, which is not accurate enough," he recalls.

The manufacturers of these TV shows have long tried to capture the energy of the hospital environment. An episode of the 1990s BBC series of cardiac arrest opens in a busy triangular unit. As far as I know, there is only one cutout in the first 10 minutes - but the camera moves quite a bit back and forth. It is far less dynamic than puberty.

Professor Palmer added that camera stabilization devices have been around for years, but the way to control them and pull the lenses remotely has only recently become very complex.

He also mentioned how some of the latest cameras have built-in filters that can be controlled remotely, or stable technology that can be activated or deactivated under the press of a button. "That's a complete game-changer," he said.

Long-term singles are far from the new concept of cinemas. There are examples over the past few decades.

The 2015 film Victoria, a feature film that was shot in the 2015 film, which its manufacturer says was a shooting. In the past, some have expressed doubts about this, but photographer Sturla Brandth Grøvlen stressed: “No editing or cuts.”

Although Mr. Brandth Grøvlen had to rely on the technology of the time, he said some of the shaken images were intentional - the director wanted a film that reminded the audience of footage shots from the news crew in Varex.

Mr Brandth Grøvlen said: “It feels very much right now, but I never know what will happen.

He used the Canon C300, a small movie camera that is perfect for documentary production. Mr. Brandth Grøvlen only minimizes the weight of the camera by adding necessary accessories. He also practiced the movements he planned to perform in the last film to achieve the “muscle memory” of the process.

"When they suddenly started running, I had to transfer the grip to the side handle, to the top handle - so it was a little less."

The company's product education manager Brett Halladay said the Ronin 4D was DJI's "first dedicated movie camera."

He describes a wide range of stabilization technologies and the fact that the device transmits videos wirelessly to a field monitor. It automatically selects the frequency based on the best available signal.

However, there are some limitations. This camera is not set for vertical shooting – with the rise of video-sharing smartphone apps such as Tiktok, more and more cameras are being made.

Mr. Haradi noted that he acknowledged that it is possible to take portraits or vertical images in landscapes and cropping, although this may not be the most “ideal” solution.

Other cameras are available. For example, Canon touts its series of lightweight movie EOS models.

Canon manager Barry Griffin said the cameras are looking for a market for filmmakers designed to increase the market for free shooting, or want to put cameras into high-quality shots from small podcast studios and residents’ owners and their guests.

Booker T Mattison, screenwriter and director who teaches film production at the University of Georgia, said the rise of highly ergonomic cameras could have a significant impact on the quality of films and television. “Opinions are often represented by the camera itself,” he said. “Absolutely, 100% allows you to tell a better, more dynamic story.”

Carey Duffy, director of product experience at Cooke Optics, said that taking a hit on TV shows obsession can be at the risk of sacrificing good storytelling.

Adolescent manufacturers use lightweight Cook lenses. Mr Duffy explained that his company designed the lenses for use with emerging, lightweight cameras, which is possible, in part because of the shorter distance between the back of the lens and the image sensors in these cameras, rather than earlier devices.

But the obsession with "Oners" is not enough to keep the audience, Professor Palmer said: "Personally, it won't make me want to see something because it can shoot it - I want to see these things because they're good."