At NAB 2011, Sony will reveal its commitment to 4K capture and… beyond!

Aunque son pocos los detalles que se conocen de la esperada cámara 4K que Sony desvelará en NAB 2011, sabemos ya que contará con un sensor 8K ofreciendo 8768×2324 píxeles en un único CMOS (20,4 Megapíxeles), con salida RAW a 16-bit y muestreo a 16:8:8. La “hermana mayor” de la línea CineAlta podrá utilizar monturas PL intercambiables y cubrirá un espacio de color más amplio que cualquier otra cámara de cinematografía digital, incluyendo ACES Film Emulation.

Aunque son pocos los detalles que se conocen de la esperada cámara 4K que Sony will be unveiled in prototype during NAB 2011, we already know that it will have an 8K sensor offering 8768x2324 pixels in a single CMOS (20.4 Megapixels), with 16-bit RAW output and 16:8:8 sampling. With this resolution, a step would be taken, in line with the developments of the Japanese NHK around Ultra High Definition, offering a resolution similar to a 3-perforation Super35 film.

With a body similar to the F35, or the Panaflex Millenium or ARRIcam Studio proposals, Sony's new 4K will work with just 12 volts, with consumption even below that of the F35. The “big sister” of the CineAlta line will be able to use interchangeable PL mounts and will cover a wider color space than any other digital cinematography camera, including ACES Film Emulation.

It will allow recording from 1 to 72 frames, with the possibility of ramping and, even in HFR (High Frame Rate) mode, we could work from 1 to 120 fps (without compromising the 4K resolution since it would use only part of the total information of the 8K sensor).

Podrá acoplarse un grabador de tarjetas de memoria SR para grabar directamente a una SR de 256 MB, 512 MB o 1 TB (prevista para 2012). En una tarjeta de 1 TB de memoria trabajando a 24 fps podríamos almacenar alrededor de una hora de material.

Sony has not yet officially released many details about other recording and instant viewing-playback possibilities, although we do know that the newly recorded file can be played and transferred directly to the new SR Data Transfer Unit SRPC-5 rack unit, with the possibility of following the recording directly collected by the sensor on a 4K monitor. In terms of editing, the majority of non-linear editor manufacturers have already shown their intention to natively support the files of the new camera as soon as it is commercially on the market.