4月的2011 NAB，SONY将发布4K数字摄影机，8K传感器，16Bit！

CineAlta

2011年4月11日开幕的美国 NAB上， SONY将首次展示其神秘的顶级 4K数字电影摄影机。 这将会是一个超越目前市场上所有竞争对手的产品。

SONY已经修改了 2010年的 4K End to End介绍会上的 6K x 3K（1,770万像素采样率）的方案，采样像素将提升到：8,768 x 2,324 （20.4 Megapixels）。而次前公布的 12Bit输出，也将提升到 16Bit输出。

此摄影机在正常拍摄模式下，全像素将支持：1p--72p拍摄，在高帧速模式下，4K支持 120fps。

据说将采用浮动价格区间的定价方式， 根据不同配置定价，基本组的价格将比 F35便宜， 价位将从：$100K---$300K之间。

http://www.crunchgear.com/2011/03/01/sony-prepping-monster-4k-cinema-camera-for-nab-debut/

Sony Prepping Monster 4K Cinema Camera For NAB Debut

This news is above and beyond the budgets of our readers, sure, but to be honest it’s also above and beyond the budgets of most major filmmakers. Digital cinema cameras like the one Sony is expected to announce this month at NAB run in the $100K-$300K range, and often aren’t even offered for sale, only for rental at daily costs that would buy you a RED. But hey, money issues aside, this is going to be a beast of a camera.

It’s got a Super-35mm-sized CMOS sensor pulling down 8768×2324 pixels, which makes for a pretty weird aspect ratio. Good thing it’s reducing that to 4K, or else we’d be watching some widescreen movies in a couple years. Perhaps the more impressive bit is its color space: 16-bit RAW in 16:8:8. That’s a lot of leeway for the editors, cinematographers, and color techs to work with.

The rest of the info can be found over at Film and Digital Times, which appears quite impressed with the camera. NAB happens in early April, so we’ll update you then.

As for big digital cinema’s nemesis RED, Jim Jannard had only this to say: “At least people can now stop thinking about 1080p!” Which really is true, even the high-end digital cinema gear has been aimed at 1080p for the last few years. Soon a 4K process may make its way all the way to a theater near you.



http://www.fdtimes.com/news/sony/new-sony-camera-4k-and-beyond/

New Sony Camera: 4K and Beyond

The bar has been raised again. Sony is planning to show the prototype of a new >4K motion picture camera at NAB 2011. This could  be historic.

We’re an hour southwest of Tokyo at Sony’s Tech Center in Atsugi. No pictures allowed, but we spent time with the development team and executives involved in this latest addition to the Sony CineAlta product line. It doesn’t have a name yet, but instead of calling it the Next CineAlta Camera, let’s give it the working title of Cine Altissima. She is not a mere 4K motion picture camera. Behind the PL mount, there’s an 8K sensor: 8768 x 2324 pixel single CMOS sensor (that’s 20.4 Megapixels) — Super35 3-perf size,  16-bit RAW output, 16:8:8.

Altissima covers a wider color space than any other digital camera, and will include ACES Film Emulation.
In normal mode, the new Sony 4K camera will shoot from 1-72 fps. In HFR (High Frame Rate) mode, she’ll go from 1-120 fps.

A 1 TB Memory Card recording at 24 fps will store about an hour of “footage.” A dockable SR Memory Card Recorder can attach to the camera for recording directly to an SR Memory Card of 256 MB, 512 MB or 1 TB. I imagine that other recording options will become available, both onboard as an accessory digital “magazine,” and tethered by cable in a separate case. Debayering for instant viewing or playback  will be available with external real time hardware.

Altissima has the familiar look, in prototype form, of a high end motion picture camera: hints of F35, Arricam Studio or Panaflex Millenium. Power will be dual 12 volt; consumption is expected to be less than a Sony F35.
What does the image look like? The pictures from the prototype, on a large 4K monitor, were stunning. Rich blacks, incredible detail, superbly sharp. I’m guessing the native ISO sensitivity is around 800-1000 — just quick speculation in a dark test room and a tabletop set.

I think what makes this new camera possible is the fact that Sony manufactures the five secret sauces essential to practical 4K: sensor, storage, software, station, and screening. Sony makes the 8K sensor that subsamples to 4K. That’s a significant amount of headroom; higher resolution from this sensor might be seen in the future. Storage: Sony makes the SR Memory Cards–they have an impressive 5 Gbps sustained data rate. Station: Data from the SR Memory Card is downloaded, cloned, and copied via Sony’s SRW-5800/2 deck. Software: Sony announced that Avid, Final Cut Pro and other major editing systems will handle all this. Finally, Sony’s 4K digital projectors have been installed in more than 7500 theaters worldwide.
Sony’s new Cine Altissima camera has the potential to be the big breakthrough into practical 4K production. This isn’t the trickle of traditional workflow. This is the floodgates opening.

小摇臂

RED的对手来啦，好戏开场

CineAlta

此前 SONY在ISSCC 2011上，展示了新开发的用于数字电影摄影机的超高速 CMOS传感器。

全域快门， 6K x 2.9K的， 1,770万像素。全像素（6K x 2.9K）输出时， 12Bit的采样帧率达到：120fps（数据传输率达到：34.8Gbps［4.35GB/s］）；当以 14Bit输出时，全像素1,770万（6K x 2.9K）采样的帧率也能实现 60fps的高速输出。 1080p的 12Bit输出，采样帧率能超过1,000帧。展示的传感器的光学尺寸是对角线：27.5mm（完全对应 16:9的 Super-35mm的规范）。

偶一直认为， SONY的 4K摄影机一定是这枚传感器毫无疑问了。 没想到才不到几天，方案已经完全推翻了。已经变成了：8K 的 16Bit输出的传感器哈（不是偶不知道，而是这世界变化太快哈）


23.11 a 17.7Mpixel 120fps cMoS image Sensor with 34.8Gb/s Readout
T. Toyama1, K. Mishina1, H. Tsuchiya1, T. Ichikawa1, H. Iwaki1, Y. Gendai1, H. Murakami1,
K. Takamiya2, H. Shiroshita1, Y. Muramatsu1, T. Furusawa1
1:Sony, Kanagawa, Japan; 2:Sony LSI Design, Kanagawa, Japan
A 17.7Mpixel CMOS image sensor with a 27.5mm optical format realizes 120fps at 12b using 90nm
CMOS. This sensor achieves 2.75e-rms random noise at 12b, 120fps with a maximum data rate of
34.8Gb/s. The 16 channels of scalable low-voltage signaling I/F with embedded clock operate at
2.376Gb/s each and the single-slope ADC ramp generator runs at 2.376GHz.

色和尚

牛逼，天价。骚妮儿骚起来了。

left1905

不骚不行啊，F3K刚到中国又出新消息，不得不说索尼应对RED的态度，反击战越打越响！！

色和尚

一高一低，两头堵啊。盼望郑工他们的东西能早出现。

EOS-king

哎......看着骚尼发骚，心里真不是滋味。

这又是顶级的 8K-CMOS的 4K摄影机，又是F3这样的手持机 再加个入门级的 S35-NXcam。 把这产品线封得是风雨不透，给足力了。

可偶稀饭的 Canon咋就一点动静都没有呢。俺也不奢望Canon像骚尼那样发布什么超高价的顶级 4K系统，只要弄个类似F3（或是 NXCAM）手持的就成啊。

竟发先毫无价值的 XF305,105 甚至还弄出个XA10。 这直接把偶打击得连晕三弹的产品，真是混天黑地连晕到家。

zeiss-leica

多大画幅的？多少毫米x多少毫米？总不能56x14mm吧。

smap2009

原帖由 EOS-king 于 2011-3-4 14:23 发表
哎......看着骚尼发骚，心里真不是滋味。

这又是顶级的 8K-CMOS的 4K摄影机，又是F3这样的手持机 再加个入门级的 S35-NXcam。 把这产品线封得是风雨不透，给足力了。

可偶稀饭的 Canon咋就一点动静都没有呢。俺 ...

佳能新出的专业摄像机不合兄弟的口味，但也不是没有价值，起码得到了目前最强专业手持摄像机的称号，给佳能摄像机涨了脸面。但是可换镜头摄像机却没有任何动作，只是2010年发步了4K概念机，不过外形配置指标太雷人了，佳能介入这个领域应该比松下更有优势，自家强大且种类众多的镜头就是用户选择佳能的卖点，而且单反也培养了很多用户，趁热打铁不愁卖，难道是技术问题？或是想打造更强大的机器？

[ 本帖最后由 smap2009 于 2011-3-20 13:06 编辑 ]

xingbo

不知道此次日本地震是否会给日本厂商参加NAB造成一些影响。

Sony确实是固态传感器的大鳄，在一定程度上引领着技术和市场的发展。如果说4K分辨率数字电影，确实比胶片给人们带来了更清晰、更具震撼力的影像，那么当8K降临之后，当半导体的制程接近极限之后，当人们的视觉分辨力被超越之后，我相信像素之战总有一天会偃旗息鼓。如果说技术革新是电影、电视行业收入的一个增长点，那么我们是否应该把更多精力转移到如曲面传感器、有机材料传感器、高动态范围传感器以及液体镜头等等面向未来的新技术上来呢？

zeiss-leica

佳能的作用就是乐凯对于富士柯达的作用，目的在于降低竞争价格，实际上能有多少竞争力并不重要。