https://www.fogolf.com/1062922/let-us-watch-golf-theres-absolutely-no-reason-why-we-arent-seeing-every-single-shot-during-the-ryder-cup/ Let Us Watch Golf: There’s Absolutely No Reason Why We Aren’t Seeing Every Single Shot During The Ryder Cup #Amount #asshole #BadSport #Commercial #Coverage #Golf #GolfNews #Lack #MORIKAWA #play #Reason #Shot #SingleShot #SoundProblem #Term #us

This is How Netflix Shot ‘Adolescence’ in Just One Take https://petapixel.com/2025/03/22/this-is-how-netflix-shot-adolescence-in-just-one-take/ #behindthescenes #adolescence #howitsshot #singleshot #Features #netflix #onetake

LargeSense LS911 Hands-On: The First Digital Large Format Camera

The LargeSense LS911 is definitely a camera that is not for everyone. It is well-suited to individuals who want to thoroughly explore large format photography or who already have experience working with large format camera systems. Either way, the venture depends on having a large budget.

That said, what it lacks in portability and cost, it more than makes up for in sharpness, clarity, and razor-thin depth of field capabilities. Images pop off the screen and the pixel peepers will see tack-sharp edges, flawless bokeh, and smooth noise that looks more like film grain than digital noise.

The founder of LargeSense, Bill Charbonnet, describes the camera and his work as such:

“Building a company to make a camera which has never been built before, for a market that has not existed before. Organizing a diverse group of people to work together to build these special new cameras on a tight budget.”

Why carve out a new market of people who don’t know they want a product produced under tight design constraints and on an extremely narrow profit margin? Why isn’t this an unreasonable risk?

Simple: Size matters! Especially in digital photography.

1/30 sec, ISO 2100, Kodak Aero Ektar 305mm f/2.5 at f/2.5 | Flag colors added in post | Link to original file here

If the technical and financial caveats haven’t scared you away, strap in. Our experience with the LS911 and the end product has been unlike anything in the photography world.

The video above was captured at 1/30 sec, ISO 2100, reduced to 50% speed, and shot with a Kodak Aero Ektar 305mm at f/2.5. Link to a single RAW frame from the videohere.

We were able to connect with Charbonnet when we picked up the camera directly from LargeSense in Santa Clara, California. He’s a quirky, tech-savvy guy who offered whatever personal support we needed to get up and going. We drove the camera up to our studio in Seattle and got to work.

The video above was captured at 1/30 sec, ISO 2100, reduced to 50% speed, and shot with a Kodak Aero Ektar 305mm at f/2.5. Link to the uncorrected 8-bit video can be foundhere.

Resolution test: 1/30 sec, ISO 2100, JML Optical 305mm f/9 at f/16 | Link to original file here.

LargeSense LS911's Notable Specifications:

• 9×11-inch monochrome CMOS sensor
• 75-micron pixel size
• ISO 2100 or ISO 6400
• Electronic shutter range from unlimited to 1/30 second
• 14-bit RAW, DNG or TIFF output
• JPEG shooting is possible (untested)
• 3888×3072 native resolution, files will be 3889×3073 with the interpolated line and column
• Up to 30fps in video, full 14-bit RAW
• Video saved as TIFF’s, DNG’s, CinemaDNG, JPEG’s or h.264 at 8-bit
• Built-in WiFi hotspot for remote control
• On chip pixel binning at 1×1 or 2×2
• Monochrome with no AA filter and no on-chip micro lenses
• 3.5mm jack for external cable release
• Rolling shutter
• Access to uncorrected sensor AD data (if you are into that sort of thing)
• 40 pounds
• 16x16x10 inches with no accessories

Since Nick has a background in large format photography, we were able to adapt his lenses and slide-mount assembly for use with the LS911. Because of our custom setup, it was easier to mount the unit upside down on the slide.

The camera itself is heavy and has a good clean build quality. All the buttons are sleek and the interface is intuitive.

There are significant features that other (even traditional) camera systems lack, like on-chip pixel binning and the ability to capture dark frames and flat fields for extremely clean images. Shutter speed, iso, image size, image format, the total number of exposures (for video), and a few other settings are available all on the main screen.

The histogram is configurable and the image preview can be adjusted for contrast and brightness. You can optionally connect a tablet or mobile device to control the camera. The controls on the app are thru a sort of web interface but function well and have the same capabilities as the screen on the camera. It was nice to be able to add notes, focal length, etc. to the metadata while shooting. We would like the option to zoom while shooting video for doing critical focus work and have faster shutter speeds than 1/30 of a second. LargeSense says these features are coming in the newer firmware, so we’ll see how they perform when they get released.

The LS911 has a CF card slot, a thumb drive USB port, and an internal one terabyte SSD capable of shooting at full 30 frames per second until you run out of space, though we only tested this out to about a minute. An important note is that the on-screen preview only updates two or three times a second so you don’t get a live 30 frames per second video preview on the camera.

The camera does require a 120v power source, so you’ll need an extension cord, inverter, or the like. The camera itself pulls about 300 watts when running and we were able to run it for an hour or so on a small 12v with an inverter.

The camera ships with an option for an on-chip IR cut filter or plain glass if you want the ability to shoot in infrared. We simply went with plain glass as we have pretty good stack of filters for shooting in different light spectra from UV through infrared.

The sensor itself measures 9×11 inches which is assembled in four pieces. According to LargeSense the software interpolates one row and column of pixels in between the four smaller sensors. It’s hard to tell by looking at the files but you can see the stitch line in certain situations if you look closely. Pixel peeping also reveals occasional faint horizontal lines when shooting high-contrast subjects. The phenomenon doesn’t seem to be consistent, and it also isn’t noticeable at full size.

The flash sync works well for triggering a flash via hot shoe or sync cable and syncs all the way up to 1/30 sec.

We took the LS911 out to do some night photography and we were very impressed. When we set up it was pitch black with no moon. We were excited to see clean images with short exposure times. You can even see the live view clearly at night which we’ve never been able to do with other camera systems without long test exposures.

2 seconds, ISO 6400, Kodak Aero Ektar 305mm at f/2.5 | Link to original RAW here.

We have used many camera systems, and our consensus is the cleanliness and clarity of the RAW files from night shots is hard to stop staring at. It’s almost dreamy. Additionally, there doesn’t seem to be a maximum exposure time. There is the expected minor salt and pepper noise with long exposures but it seems significantly better than smaller camera systems with similar exposure times.

You can also stack images in-camera, so you get one final long exposure from many short exposures. We did some tinkering to see if there was any gap between shots, but it appears to be completely seamless so you won’t get any dotted lines on moving objects.

2 minutes with in camera gapless stack (60 frames), ISO 6400, Kodak Aero Ektar 305mm at f/2.5 | Link to original RAW here. 1/30 sec, ISO 2100, Kodak Aero Ektar 305mm at f/2.5 | Link to original RAW here.

Charbonnet was very tight-lipped concerning testing and what is coming down the pipeline from LargeSense, but we know the following:

Future LS911 models will be "significantly lighter" and LargeSense is currently testing a color sensor that uses a unique color filter design that doesn’t use dyes for the color pixels. Charbonnet wouldn’t say if it was three layers like the Foveon or something else, but he did say they are testing out the color 4×5 now. LargeSense also has a monochrome 4×5 camera for purchase as well as, of course, the 9×11.

Pros:

• Produces images with clean and deep tonality, even at night that is not possible with smaller formats because of the large capture area.
• Capable of rendering shallow DOF to achieve the in-camera "vintage" look.
• A true black and white sensor.
• Outputs slightly better than 4K RAW video.
• Connecting to the camera via wireless using a phone or tablet is simple and handy.

Cons:

• There is no doubt about it, the LS911 is heavy and expensive (current model is $106,000, Gen II will cost $85,000)
• The model we got is about 40 pounds, although newer models will be lighter.
• Shooting is all manual: no autofocus, no auto exposure, no auto ISO.
• Must have a 300W 100VAC-240VAC source
• Currently, the fastest exposure time is 1/30 of a sec.

Overall, the LS911 is big and bulky to be expected but functions well and produces beautiful RAW files. It is exciting to shoot with and we haven’t felt limited as on some other camera systems. Everything fits together nicely even without our modifications and the interface is intuitive.

If you have experience shooting with large format or have always wanted to and have a decent budget, this camera is definitely for you. We wouldn’t be surprised if we start seeing this used for high-end cinematography. With a 9×11-inch mirrorless sensor available to consumers, we may see bellows and vintage glass parading in parks and cities around the world very soon!

_About the authors: Richard Brown is an American Photographer whose roots are steeped in film. In his early childhood, Richard lived in Chinhae, South Korea near a US Navy base. His first camera was a 35mm point-and-shoot which he used to capture one of the 88′ Olympic torchbearers. In high school, Richard was placed on yearbook staff and worked in the darkroom. He was gifted a briefcase Russian enlarger which he used frequently in his free time. In 1995 on a UK trip, Richard challenged himself to use an Argus brick the entire trip. He also traveled and photographed in Kuwait, Bahrain, Saudi Arabia, and across the United States. Richard then became a cast member at Walt Disney as a Photographer. Richard continued with his photography passion as a manager of a photo lab at Eckerd during the film SLR changeover. Richard has used many camera formats over the years. Richard continues his journey through the many changes that technology brings and considers himself an Apprentice of the Arts. Richard enjoys traveling with his gigapan and capturing the natural beauty of the PNW.

Nick Spiker is an American professional landscape photographer best known for incorporating invisible portions of the electromagnetic spectrum into his work. Nick’s passion for photography began as a child as he accompanied his father on various photography expeditions, including many shoots for National Geographic Adventurer. His mother cultivated this passion by providing Nick with access to the first editions of Adobe Photoshop. He dissected photography—both analog and digital—to its basic roots, becoming a master of light and color dynamics, optics, perspective, and perception. Nick uses his creations to reveal a world filled with beauty and clarity by using a precise balance of contrast and color in his images that can only be achieved by carefully selecting various spectral filters. Nick captures near-infinitesimal detail in his images and reveals the unviewable by translating infrared and ultraviolet channels to the visible spectrum. Nick will traverse any terrain in any weather at any time to capture the perfect image. Hiking 40 miles in subzero weather under the night sky with custom camera equipment is when Nick feels the most alive and inspired._

Cup of Joe Photography is a Seattle-based partnership that focuses on unique capture methods and special effects. Cup of Joe proudly supports the LGBTQIA community. Richard and Nick enjoy tinkering with anything photography-related. Richard and Nick are very serious when it comes to coffee -- both Richard and Nick roast their own beans every morning.

#equipment #reviews #8x10 #camera #cupofjoephotography #digitallargeformat #giantsensor #handson #largeformat #largeformatdigital #largesense #largesensels911 #nickspiker #review #richardbrown #singleshot #worldsfirst

Ambitious Single-Shot Drone Video Flies Through an Active Wedding

A wedding venue in Gloucestershire, United Kingdom has just published an incredibly ambitious, scripted, single-shot first-person view drone video that takes viewers on a 500-meter journey through the full grounds of its picturesque rural location.

Clearly influenced by the recent viral videos produced by Jay Christiensen of Minnesota-based Rally Studios -- like this one that flies through a bowling alley or its follow up that tours the Mall of America -- the video titled "Elmore Flies Again" integrates a soundtrack as well as foley audio and mixes aerial perspectives with other unique angles not yet seen by any other first-person drone pilot.

Elmore Court, a wedding venue, enlisted the skills of Andy Lawrence, the same drone pilot responsible for this impressive flight through Manchester City's arena. Lawrence is responsible for some of the aerial stunt videos for both Top Gear and The Grand Tour. The video was produced in advance of final preparations for the restart of its ability to host weddings after a temporary closure of the facility due to the COVID-19 pandemic. Weddings may resume at the venue starting on June 21.

Lawrence's drone as it passes through the venue.

The tour takes viewers on a bird’s eye view as guests arrive and then through a series of intricate manoeuvres in the main house, the grounds, Gillyflower ballroom, and kitchens of the estate.

The wedding depicted in the video was put together by actors and was not an actual live wedding due to COVID restrictions, but does an excellent job painting the picture of what a real one might look like. Elmore Court was able to put together the production by enlisting the support of its wedding suppliers as well as friends, family and through recruiting 30 wedding guest ‘extras’ via a public call-out. The entire shoot was completed in just a few hours, according to the venue.

The production actors, extras, and crew.

"It took a couple of practices before the final successful drone flight was achieved to everyone’s delight," the Elmore Court says.

The only break in the full single take happens early on as the drone moves from its high, wide-angle down behind the couple entering the main doorway. After that, the impressive video is one complete, uninterrupted take.

"The main section of the film is a genuine one take flight with no camera tricks or CGI," Elmore Court's owner Anselm Guise elaborates. "In order to eliminate the buzzing of the drone we overlaid an audio track post-production to enable us to listen in to some of the idiosyncrasies of the wedding party as they get ready alongside some bespoke music written by some good mates from the techno trance scene."

The pilot, Lawrence, says it was one of the most fun and elaborate projects of his career.

"The challenge of flying the drone on a journey of 500 meters in and out of a building over 750 years old with walls over a meter thick in some places, has to be one of the most challenging projects I’ve ever done,” he says.

What differentiates Lawrence's video from Christiensen's originals is how the pilot melded flight with a landed, fourth-wall-breaking shot. Near the end of the video, the drone is "caught" out of the air and delivered onto a tray before being walked through the last section of the venue. Combined with the tight turns that preceded it, the production of the video must have taken considerable scripting and detailed coordination.

Elmore Court says that it believes that this is one of the most ambitious drone videos shot in the UK to date, alongside the aforementioned video produced for Manchester City.

_Image credits: Photos provided courtesy of Elmore Court. _

#features #news #4k #ambitious #andylawrence #dronevideo #filmmaking #fpv #fpvdrone #quadcopter #singleshot #unique #unitedkingdom #wedding #weddingvenue

Stunning Single-Shot FPV Drone Tour of Manchester City’s Etihad Stadium

Manchester City recently topped rival Manchester United to take the Premier League title and to celebrate the internal content team has published this 3-minute and 40-second single-shot first-person-view (FPV) drone video that tours the entire Etihad Stadium.

Single-take drone videos are starting to balloon in popularity thanks to the smash success of first-person drone pilot Jay Christiensen. Christiensen stunned the cinematography community with his viral video sensation of a single-take bowling alley video in early March. Since then, he and his team have produced two more videos, one featuring the iconic Los Angeles diner Mel's Drive-In and the other sponsored by the Mall of America that pays homage to The Mighty Ducks.

"This footage is 100% genuine, no camera tricks, no hidden edits, no CGI - a single take drone shot!" the club writes in a description of the video.

Manchester City's single-take FPV drone video is pretty close to the level of Christensen's work and is incredibly impressive in its own right given the amount of space the drone covers and how well it deftly moves through both wide open and tight spaces. The drone covers a huge amount of space both inside and out, which likely pushed the signal strength of the controller and drone to their limits. Similar to Christiensen's video, the Manchester City content team dubbed audio over the original footage to give viewers something to listen to other than the loud whir of the drone's propellers, though no people are visible anywhere, which is something that again separates this particular video from the ones that likely inspired it.

Manchester City's Etihad Stadium was first opened to the public in July of 2002 as the home of the Commonwealth Games before it was converted into Manchester City's home stadium in 2003. The stadium cost £112 million to build and seats over 55,000 fans.

Manchester City took the Premier League title in 2021 for the fifth time in nine years after rivals Manchester United lost to Leicester City earlier this week. Manchester City's rise from forgettable outsider to one of the world's most elite teams over the course of the last 20-plus years is one of the more impressive turnaround examples in the sport.

Digital Trends notes that the soccer club has not yet disclosed the identity of the drone pilot who captured the impressive celebratory footage, though it apparently has promised to post a behind-the-scenes video revealing as much and more in the coming days.

#equipment #features #news #cinematic #drone #dronetour #etihadstadium #fpv #fpvdrone #machestercity #premiereleague #singleshot #singletake #tour

Stunning Single-Shot FPV Drone Tour of Manchester City’s Etihad Stadium

Manchester City recently topped rival Manchester United to take the Premier League title and to celebrate the internal content team has published this 3-minute and 40-second single-shot first-person-view (FPV) drone video that tours the entire Etihad Stadium.

Single-take drone videos are starting to balloon in popularity thanks to the smash success of first-person drone pilot Jay Christiensen. Christiensen stunned the cinematography community with his viral video sensation of a single-take bowling alley video in early March. Since then, he and his team have produced two more videos, one featuring the iconic Los Angeles diner Mel's Drive-In and the other sponsored by the Mall of America that pays homage to The Mighty Ducks.

"This footage is 100% genuine, no camera tricks, no hidden edits, no CGI - a single take drone shot!" the club writes in a description of the video.

Manchester City's single-take FPV drone video is pretty close to the level of Christensen's work and is incredibly impressive in its own right given the amount of space the drone covers and how well it deftly moves through both wide open and tight spaces. The drone covers a huge amount of space both inside and out, which likely pushed the signal strength of the controller and drone to their limits. Similar to Christiensen's video, the Manchester City content team dubbed audio over the original footage to give viewers something to listen to other than the loud whir of the drone's propellers, though no people are visible anywhere, which is something that again separates this particular video from the ones that likely inspired it.

Manchester City's Etihad Stadium was first opened to the public in July of 2002 as the home of the Commonwealth Games before it was converted into Manchester City's home stadium in 2003. The stadium cost £112 million to build and seats over 55,000 fans.

Manchester City took the Premier League title in 2021 for the fifth time in nine years after rivals Manchester United lost to Leicester City earlier this week. Manchester City's rise from forgettable outsider to one of the world's most elite teams over the course of the last 20-plus years is one of the more impressive turnaround examples in the sport.

Digital Trends notes that the soccer club has not yet disclosed the identity of the drone pilot who captured the impressive celebratory footage, though it apparently has promised to post a behind-the-scenes video revealing as much and more in the coming days.

#equipment #features #news #cinematic #drone #dronetour #etihadstadium #fpv #fpvdrone #machestercity #premiereleague #singleshot #singletake #tour