Oink! Aspect ration 4:3. Hope to see it in a camera, and the "low noise" part seems very interesting.

When? That's it.

Edit: And how much, of course.

Binning is still required for 12-bit sensor output. For 10-bit output the full sensor can be read at 22.5fps, which would equate to ~24fps with the crop from 16:9 aspect. So I think 4k/24p is possible to create from 16:9 full sensor read-out. 4k/30p would still require binning even with 10-bit.

16:9

594000000÷(4656 ×2619)÷(12÷8) = 32,474817

Enough even for 12 bit raw full scan

@MarcioK

:-) You mean Voldemort.

@MarcioK, @Vitaliy_Kiselev Voldemort could be right. The GX7 sensor and the (new) MN34230PL have quite some similarities.

So in my dream the GX7 with hack, will be a real competitor for BlackMagic Pocket?!

GX7 is likely hardware limited by processor and subLVDS for 4k.

The sensor's parameters look very promising. I'm wondering what was the sub-LVDS data transfer rate for the previous Panasonic micro43 sensors?

I find it hilarious that they're coming out with 4k pro-sumer cameras and TV's right and left when the broadcast A/V standards for UHD have not even been ratified and set in stone. Talk about being on the bleeding edge.

HDMI 2.0 was ratified earlier this year, and now they need to modify the chipsets yet again because the specs. don't cover all the bases. They got the cart before the horse on this one.

The industry is falling all over itself and 4k may end up like digital 3D for the home... a certified disaster... unless they get their act together.

And don't forget the amazing 1080p or 2k image when you scale 4k source material down. I think capturing 4k source material and consumer consumption of 4k are two different animals - as was proven, most people can't tell the difference between 2k and 4k in most normal viewing conditions, but many CAN see the difference between 2k source material at 2k and 4k source scaled to 2k.

@vicharris

The broadcast and streaming specs for Ultra HD ("sorta" 4k) may or may not include an entirely new color gamut spec.: ITU-R Rec. 2020 (currently HD uses Rec. 709). They're also still debating if the video bit depth will be increased to 10 bit or 12 bit and 4:2:2 or 4:4:4 component bandwidth (or going even further). Another possible advancement are theatrical whole frame rates (24, 25, 30, 48, and 50 and not just video friendly rates like 23.97, etc. for better motion cadence), and increased frame rates to 60 or even 120 fps.

I haven't even started on the new audio format requirements (there is some rumbling that object based/metadata controlled audio bitstreams, rather than the traditional channel-based formats, may make an appearance, with DTS leading the charge along with a group of vocal audio insiders. The studios and audio post engineers from major audio companies are already trumpeting object based audio with Dolby Atmos (a hybrid channel/object format) because you can scale to virtually as many "channels" as you have speakers hooked up to a compatible surround processor. You only need one master object mix that can be easily down-converted to any previous format.

Pioneering Japanese broadcasters have talked about using surround layouts of up to 20-some speakers and are getting ready or perhaps already transmitting these prototype audio bitstreams along with various versions of UHD and 8k programming. They're usually the Guinea pigs for proposed worldwide TV and video systems.

No current UHD TV or other devices have been outfitted with these capabilities. So, if you buy UHD pro-sumer or consumer devices now, be prepared to upgrade almost immediately due to changes in the video specs. I'm sure pro-sumer gear will still be limited to 2 channel audio

I'm not talking about professional grade camera and TV monitoring gear because their capabilities are so far ahead of consumer level products and are specifically designed for archival mastering or theatrical distribution.

@Vitaliy_Kiselev,

I would assume that the final specs. would have some means to down-convert Rec. 2020 to earlier gamut scales on a current HDTV, otherwise Blu-ray's Rec. 709 wouldn't work on regular SD TV's... if you still have a player that can output composite SD resolution, that is.

From what I gather, they're hoping H.265 will be some sort of panacea (and is supposed to allow for 8k too). Whether or not it works as well at lower bitrates like RED claims their REDcode codec can (even at 10 - 12 bits with 4:2:2), is something to watch for. There probably will be codec shootouts available, though it's too late to change from H.265 in the broadcast world.