Rumored specs

• 12MP FF CMOS sensor, BSI, fast readout
• 5-Ахіѕ Орtісаl Іn-Воdу Іmаgе Ѕtаbіlіѕаtіоn
• 759 АF Роіntѕ соvеrіng 92% оf thе ѕеnѕоr
• 15 stops DR
• 9,44mdots OLED EVF
• Articulating LCD, around 2.4Mdot
• Conflicting rumors about deal ISO, native ISO must be around 800-1600.
• ВІОNZ ХR LSI, overheats as made using 8 year old process
• Video modes
  • Small crop in all video modes
  • UHD from 24fps to 120fps
  • UHD 10bit 422 up to 60fps
  • 1080p from 24fps to 240fps
  • UHD raw over HDMI
  • up to 600mbps bitrate
  • Н.265, Х-АVСНЅ codecs
• ISO 160 for S-LOG3
• Ѕ-Lоg Fх9 Соlоur Маtсhіng
• Rеаl-Тіmе Еуе АF оf Нumаnѕ аnd Аnіmаlѕ
• not impressive pasive only cooling, overheat shutdown system present
• video record button is now on the top of the camera,
• touch function available when navigating the menu (few kittens died at Sony to make it happen)
• Dual slots, UHS II SD cards and CFexpress Type A card can be installed in each one
• One usb-c port and micro-usb, full size hdmi port.
• Ніgh-Реrfоrmаnсе Ѕоnу Z-Ваttеrу
• 5Ghz WіFі Соnnесtіvіtу
• Shipment starts August 16th
• Price - $3498, 4200 EUR, 3800 GBP
  • US - https://www.adorama.com/isoa7sm3.html
  • US - https://www.bhphotovideo.com/c/product/1577838-REG/sony_ilce7sm3_b_alpha_a7s_iii_mirrorless.html
  • EU - https://www.fotokoch.de/Sony-Alpha-7S-III-ILCE-7SM3-Gehaeuse_35856_bewertungen.html
  • EU - https://www.calumetphoto.de/product/Sony-Alpha-7s-III/SONA7SIII
  • UK - https://www.wexphotovideo.com/sony-a7s-iii-digital-camera-body-1745993/

Specs

• 42MP Full-Frame Exmor R BSI CMOS Sensor
• BIONZ X Image Processor
• 5-Axis SteadyShot INSIDE Stabilization
• 399 Phase-Detect AF Points & 5 fps Burst
• Internal 4K XAVC S Video & S-Log2 Gamma
• Weather-Resistant Magnesium Alloy Body
• Built-In Wi-Fi Connectivity with NFC
• 3,5x faster than the A7r
• AF is about 40% faster compared to A7r
• Shipping - August
• Price - $3200

The ASUS PQ321 True 4K UHD Monitor uses cutting-edge Indium Gallium Zinc Oxide (IGZO) rather than traditional amorphous silicon for the active layer of its LCD panel. IGZO panels support much smaller transistors than amorphous silicon, which in turn gives much smaller pixels and the 3840 x 2160 resolution of the PQ321 is four times that of a 1920 x 1080 Full HD display.

176-degree wide viewing angles on both vertical and horizontal planes minimize onscreen color shift, while the 350cd/m² brightness rating and 8ms gray-to-gray response time ensure smooth, bright, and vibrant moving visuals. IGZO technology also gives reduced energy consumption compared to amorphous silicon and reduces bulk — at 35mm at its thickest point, the PQ321 is the thinnest 4K UHD monitor available today.

Via: http://www.asus.com/News/L9xTPmmMwTlPMq5l

Press release:

JVC launches 4KCAM product line

London, 12th November 2014 – JVC Professional has today launched its new 4KCAM product line, comprising three new handheld camcorders and a camera system. The GY-HM200 is a versatile, full-featured 4K Ultra HD camcorder with HD streaming and the compact GY-HM170 delivers 4K Ultra HD images in an economical, palm-sized camera with professional features. The GY-LS300 handheld 4K camera and GW-SP100 camera system – previewed at the recent IBC2014 show – each offer 2K/4K recording; the GY-LS300 is a Super 35mm 2K/4K camcorder that accepts a variety of interchangeable lenses, while the GW-SP100 is a 2K/4K mini camera system featuring remote head and recorder.

When JVC launched its ProHD product line, JVC made professional HD production affordable. The new 4KCAM product line follows that same tradition, with new cameras that make ultra-high definition 4K economical for cinematographers, webcasters and broadcasters, corporate and live event production teams and independent filmmakers.

GY-LS300 Super 35mm camcorder

The GY-LS300 records to non-proprietary SDHC and SDXC media cards in a variety of image formats including 4K Ultra HD, full HD with 4:2:2 sampling, SD and web-friendly proxy formats. It features JVC's 4K Super 35mm CMOS sensor combined with industry standard Micro Four Thirds (MFT) lens mount. JVC’s unique Variable Scan Mapping technology maintains the native angle of view for a variety of lenses, including Super 35, MFT and Super 16. As a result, lens options for the camera are almost limitless.

“The combination of a Super 35 sensor and MFT mount is a brilliant solution to accommodate the largest variety of lenses and adapters without compromising image quality and lens characteristics,” said Gustav Emrich, European product manager. “It gives filmmakers the flexibility to use high-end cinema lenses or affordable glass to capture 4K/HD footage.”

In summary

The 4KCAM product line is an ideal complement to JVC’s successful ProHD product line. All the new cameras feature dual SDHC/SDXC card slots for dual, backup and continuous recording. The camcorders also include a 3.5-inch LCD display and 1.56 megapixel colour viewfinder, each with smart focus assist functions, and offer two-channel audio recording. An ideal complement to JVC’s successful ProHD product line, the new 4KCAM cameras will be available by Spring 2015, with European pricing still to be confirmed.

Atomos, the creator of the award-winning Apple ProRes Ninja and Samurai camera-mounted recorders, and the pocket-sized Connect converters, will show the brand new 4K "Shogun 7” IPS monitor/recorder alongside the new Sony A7S at NAB 2014. The Shogun is currently the only 4K HDMI recording solution that can take full advantage of the new A7S’s full 35mm ultra-sensitive 12 mega pixel video sensor, clean HDMI out, 120 fps HD and custom HDMI timecode and start/stop trigger.

”Finally the camera the world has been waiting for, Sony has pulled out all the stops to deliver the world’s first Full Frame Video sensor in a camera for the masses.” said Jeromy Young, CEO and Founder of Atomos. “We are very proud to give 4K recording capability to the Sony A7S with our brand new 4K ProRes Shogun which sports a 1920×1200 7” killer monitor and unparalleled affordable 4K recording”. The Atomos Shogun is the world’s first 4K HDMI and 12G SDI monitor recorder and deck. With clean HDMI out direct to 4K ProRes onto single SSDs or RAIDed HDDs – 4K is now a mainstream reality at the equivalent of $40 per hour for storage media. With Sony’s pedigree and reliability coupled with Atomos’ revolutionary feature set and price points, this combination at under $5K is the most compelling video solution on the market today. Like the Samurai and Ninja Blade, Shogun allows the recording of pristine, 422 10-bit images straight from thecamera sensor captured using 4K/HD ProRes, Uncompressed RAW Cinema DNG or Avid DNxHD codecs.Waveform and monitor assist tools such as luma parade, vectorscope and tri-level focus peaking offer a very comprehensive test and shot setup tool kit. Launch presentation and Q&A on day one of the show to be held at 12.30pm on the Atomos booth C9532.

Pricing and Availability
The Atomos Shogun is slated for shipping end of Q3 beginning Q4 2014 for under $2000 USD and will be available through the Atomos Worldwide reseller network.

Have any of you ever solved that problem withou taking the camera completely apart? Theres any way to do it with a vacuum cleaner and minimal intrusion?

Main sensor 108 MP 1/1,33" capable of 8K 30p video and 4K 60p, 48 MP telephoto sensor, 12 MP ultra wide sensor, 10x optical zoom range, 40 MP wide front camera with 4K 60p.

https://fdn.gsmarena.com/imgroot/news/20/01/s20-series-full-specs/-727/gsmarena_002.jpg

...meat the entry LV dedicated camera killer, course Japanese camera manufactures love to iterate in microscopic steps until they run out of business. :)

I took the info from nofilmschool.com:

• 1000fps in 4k (4096×2160) for ~5 seconds (64gb internal memory) / 3.2 minutes @ 24fps
• Uncompressed RAW on CineMag IV cards, with optional compressed ‘industry standard codec’ (TBA)
• Super 35 CMOS Sensor size, 4096×2304 (16:9)
• 12+ stops of Dynamic Range
• Optional 1920×1080 shooting mode in 23.976 with a Super 16mm sensor crop (up to 2,000 frames per second)
• Lens mounts come in PL, PV, Nikon F/G & Canon EF
• Weighs in at 13 lbs
• $140,000 with a 2 Terabyte CineMag
• Expected to be delivered by October, from AbelCine

Based on cages initially built by hand, this next generation cage will be CNC'd and even more feature-rich than the previous generations, as well as incredibly light weight and well-balanced!

While the design is nearly complete, I am still open to ideas and suggestions people here might have. We addressed many of the issues often experienced with other cages on the market and added a few extra features never before seen such as a relocatable grip option!

Specs

• 24.3MP X-Trans sensor
• 4K p30 video recording, 1080p60 also available
• 325-point AF system
• 3" 1.24M-dot touch LCD
• Prices
  • body-only - $900 at https://www.amazon.com/Fujifilm-Camera-Silver-X-E3-Body/dp/B0759GZFMG/
  • 18-55mm kit - $1300 at https://www.amazon.com/Fujifilm-X-E3-XF18-55mm-Lens-Kit/dp/B0759HGV78/
  • 23mm F2 kit - $1150 at https://www.amazon.com/Fujifilm-X-E3-Mirrorless-XF23mmF2-Kit/dp/B0759G5XRK/
• UK Prices
  • X-E3 body - £849
  • 18-55mm kit - £1249
  • 23mm F2 kit - £1149
• Accessories
  • Fujifilm MHG-XE3 Metal Hand Grip https://www.adorama.com/ifjmhgxe3.html
  • Fujifilm BLC-XE3 Bottom Leather Case https://www.adorama.com/ifjcsbxe3.html

Vegas Pro produced an HEVC HDR10 video playable on any HDR TV and playable on Windows 10 computers capable of HDR (I have a 10bit, HDR monitor).

Resolve creates an Avid 10bit 4K HDR video with the correct HDR10 metadata. It plays on no hardware of any kind in HDR and does not play in HDR using any software I know about, but the file is recognized by YouTube as HDR. Resolve has no HEVC or even H264 10bit render options!

For the exact same HDR10 4K video the Vegas-produced file size was 408Kb. The Resolve-produced HDR10 4K video from the same clips was 8.6GB. Yes almost 9 gigabytes versus half a megabyte! The Vegas Pro video took 25 minutes to render, the Resolve video 7 minutes (because the file is only lightly compressed).

Here is the Resolve version:

Here is the Vegas version:

I do not see much of a difference. The Resolve video is brighter (more DR) because I was able to use the scopes to max out the DR.

I think I understand the scopes (designed specifically for HDR) and the controls in Resolve. But I understand neither in Vegas in ACES for HDR, yet (I have mastered them outside ACES and in SDR).

These HDR10 videos were both made essentially only using the built in (ACES or ResolveCM) transforms from Slog2 to HDR10 for 1000nits screens with little tweaking by me, except for increasing the DR a bit in Resolve.

Specs

• 1920x1200 IPS 7" panel
• 450 nits brightness
• 1200:1 contrast
• Histogram, Selectable color peaking, False color, Adjustable IRE zebra, Grid
• Central zoom, Markers, Safe areas selectable
• Anamorphic mode ( for 1.3x and 2.0x)
• Support all 720p, 1080p, 1080i modes up to 60fps
• Support 4K input at 23.98p, 24p, 25p, 29,97p, 30p
• 180mm x 120mm x 23mm
• 280g weight
• Dc input accepts 7-24V
• Comes with: Sunshade, Hot shoe ball mount, Sony NP battery plate, HDMI cable, manual

Available now.

Price: $200 $195
Shipping: Price already includes shipping for US/Canada/UK/Australia&NZ/Western Europe. Contact for any other regions.
I want to buy this monitor.

I hope Its worth the price however

http://www.crosslcd.co.kr/main.php?cidx=1&idx=11&pidx=674&page=1&option=

https://www.ebay.com/itm/New-Crossover-3232U-UHD-AdobeRGB-HDR-IGZO-3840x2160-60Hz-Adobe-4K-32-Monitor/222751050879?hash=item33dcff4c7f:g:~FEAAOSw3ZtaLfM0

There is only one review on youtube but not in English unfortunately. (Edit Sorry different model review)

New Panasonic HC-X1000 Specifications

• 4K 60P/50P 150MBPS Cinema 4K (4096 X 2160, 24P, 100mbps)
• FHD up to 200Mbps recording
• World camera - PAL/NTSC switchable
• 29.5MM f1.8 LEICA DICOMAR LENS
• 4 DRIVE LENS SYSTEM
• 20 X OPTICAL ZOOM (40X INTELLIGENT)
• 1/2.3" SENSOR
• HDMI 2.0 COMPATIBLE
• CRYSTAL ENGINE PRO 4K
• MP4/MOV/AVCHD SUPPORT
• Wi-Fi and NFC
• 5 AXIS HYBRID OIS
• O LUX NIGHT MODE
• 2 SD CARD SLOTS WITH BACKGROUND RECORDING
• TRIPLE MANUAL
• 2 XLR TERMINALS
• ND FILTER (Off, 1/4, 1/16, 1/64)
• 1150Kdot LCD 3.5"
• 1226Kdot EVF 0.45"
• $3499

Expected Price £2599. Release Date TBC

Available at:

http://www.amazon.com/Panasonic-HC-X1000-Camcorder-High-Powered-Professional/dp/B00MZCCNPG/

Two options for 4k denoise:

1 - use noise reduction "-5" in camera and use neatvideo in post production for a better quality denoise.

2 - use noise reduction "0" in camera and avoid neatvideo in post-production for a faster workflow.

Which one to choose?

When uploading a 4k video to youtube and vimeo, the heavy compression will hurt the shadow areas with macroblock and mud, so an image with more light is welcome to preserve the image quality. So when shooting a person face it is good idea to use a fill light or to use a reflector sheet if the face is in the shadow when shooting outdoor, or even a strong 1000 watts bounce halogen light pointed to the ceiling or to the wall when shooting indoor. This will help to avoid macroblock and mud in the skin after the web compression. A balance between quality and message needs to be found.

4k video is more pleasant with steady camera. The camera movements disturbs the perceiving of image resolution and detail. So using lens and sensor stabilization is welcome. Also using a tripod and camera stabilizers are good idea. A higher shutter speed is welcome when doing camera movements like pan and tilt to avoid blur in resolution. So a balance between action and resoluiton needs to be found.

Sitting very close to the screen to enjoy the great 4k video resolution is much better when the image is more steady. If the image have movements it is more pleasant to watch the content in a distance equivalent to 1.5x the screen diagonal and at this distance there is no significant difference between 4k and 1080p video. Camera movements watched very close can make the audience to feel distracted, dizzy or sick, so a 1080p video is enough if you use camera movements in your shooting aesthetics because audience will feel more confortable sitting away from the screen. So 4k video is more pleasant with steady images.

The M43 sensor and S35 sensor are small and magnify all lenses imperfections in 4k video. So a good solution is to use lens aperture in f4, f5.6 and f8 to get the best resolution and to avoid lenses imperfections (softness and diffraction) and get a good 4k image. These fstops increase MTF results and allows to use a full frame lens in small sensors for 4k video. Also the focal reducers get a good result with these fstops. This will result in less shallow dof, but for 4k I think less shallow dof is good because you get more perfection in the image resolution and more things will be in focus. So a balance between shallow dof and quality needs to be found.

Maybe the 4k video is asking us to develop a new video/cinema aesthetics with steady images, more light and less shallow dof to allow people to sit close to the screen and enjoy the image detail. But we cannot change the video/cinema language just due to image detail experience, so we need to find a balance between screen distance and detail experience versus lens, light and movements.

See this test to perceive the results with different fstops with and without focal reducer:

Here's some other specs:

• Updated to the latest firmware which shoots 4K 4:2:2 internally at 150Mbps (many other bit rates + resolutions too)

• MFT lens mount with Super 35mm sensor

• Variable Scan Mapping technology supports many other lens mounts without any quality loss (with adapters): PL, EF, etc.

• 120fps HD recording for smooth slow motion

• Records to SDXC memory cards (dual slots)

• Built in ND filters

• Two XLR inputs

• Can livestream 1080p video via Wifi or 4G LTE

I own a set of MFT lenses that I have used with this camera but have also used Canon EF mount lenses with a Metabones Speedbooster adapter. It works really well and the lens/adapter communicates with the camera automatically - no fussing or menu changing needed.

I should note that this camera works perfectly and has no physical blemishes. I recently decided to purchase a Panasonic GH5 and that's the only reason I'm getting rid of this. The work I'm doing, I need a smaller footprint so am going back to DSLR shooting for the moment.

For what it's worth, I'm in the Bay Area of California but willing to ship this anywhere in North America.

It would appear that the best prosumer alternative is the Kodak 360 4K kit - two cameras shooting 4K. It is $899, and comes with an RF remote that starts and stops both cameras, free stitching software and the frame you need to shoot 360 with the two cameras. You set them to shoot at 2880x2880 (that is 4K if you do the math), and then the software synchs and rec-linearizes. It is small and light and can be set up in seconds.

Here is what a 360 video from the cameras looks like so you can see the quality:

Be sure to select 4K for viewing (regardless of what you are viewing on).

Some people can buy just because they have enough money, other people probably need to sell some used gear to get a 4k camera. There are cheap cameras like the G7, midprice like G8 and GH4 and more expensive cameras like the new GH5. In some choices you get the sensor stabilization also.

But the question is: do you need 4K? Do your clients, do your audience need 4k? Better have two 1080p cameras or one 4k camera?

If you are shooting weddings I think it will be better use a 4k camera, because new couples probably will have a 4k smarttv in the new home... They want to see the gorgeous 4k image with their happy faces, and all the beauty cerimony and celebration.

If you are doing corporate videos, probably the employees will see the video projected in a low resolution projector, 800x600, 1024x768, 1280x720 or, if lucky, a full hd projector. They will also see in the low resolution computer corporation monitors. The clients probably will see in computer monitors or maybe a DVD or BluRay disc, or a pendrive... Much better have a low datarate 1080p video compatible with all devices instead of a high datarate 4k file.

If you are talented enough to make a living from narrative short movies or feature films, and documentaries, so that is a big question: will 4k get more attention to my production? Will it worth dealing with 4k files in the timeline slowing the editing experience? How much people will see my movie in 4K? 2% or maybe 5%? And then another big question: will 4k help me to sell my movie in video on demand sites? May I upload a 30Mbps H265 or may I upload a 50 Mbps H264 file? Ohhh! a 12 Mbps 1080p would be easy to upload... And then you perceive that a good story in fullhd would be better than a bad story in 4k...

To be honest, whatching MadMen on NetFlix I do not care if the streaming is 480p, 720p or 1080p. The camera, the light, the photography, the talents are so good that the final resolution does not matter so much. Do you prefer MadMen in 1080p or House of Cards in 4K?

Is 4k the new 35mm and 1080p the new low budget 16mm? Or 1080p keep the 35mm position and 4k is a plus, a 70mm IMAX?

Is 4k more related to the luxury of the indie filmmaker who own a 4k tv and are salivating for a 4k camera just to shoot and see the world in 4k?

Come and see my new movie! A super hiper mega ultra premium special powerful production "THE 4K GIRL" Soon in all VOD sites and also in UHDBLURAY!

4k cameras can deliver a better 1080p image, editing in 4k and then doing a downscaled render, less aliasing, more resolution. Or to make it simple: you have all resolutions the world can ask you to have. But does it worth the effort? Is this choice more related to money? That is the question! Or that are the questionsssssss...

If I was a movie distributor I would say: do not worry about resolution, 720p is the minimum good enough.

As a DoP I see 4K as falling solidly into the "nice to have" camp, but also being very non-essential (at least for now, this will change with time). So I really don't mind hugely either way, to have 4K or not. There is other more important considerations to take care of first.

But maybe there is an extra point to 4K that I'm missing when viewing it solely through my DoP eyes.... and that is marketing!

Might it make it easier for the producer/director to sell afterwards if it is a "shot in 4K" film? I thought I read somewhere that there are content providers (for instance Amazon who announced they'll be filming all their created content in 4K) who have a lack of 4K content and thus could pick up indie 4K films simply as "4K fillers"? It is after all very common to read consumer articles about the lack of 4K content out there.

Not to be confused with a ‘Stylized Look LUT’ – I created the BozBMDFilm_to_Rec709 Utility LUT out of a need to make my own color grading life easier when dealing with the Blackmagic BMCC / BMPCC Cinema Camera Film LOG and RAW files. And now I'm making it available to you.

Download Page: https://bulentozdemirfilms.wordpress.com/downloads/bmcc-bmpcc-bozbmdfilm-to-rec709-lut/

The LUT brings out the contrast and color values captured by the BMCC / BMPCC in Film or RAW mode and strives to preserve highlight and shadow detail [more examples can be found on the download page]

Though it's not free, I think the small asking price of £3.00GBP (approx $3.80USD) is enough to take a leap of faith on. Made a difference to my work flow as I’m sure it will with yours :)

Download Page: https://bulentozdemirfilms.wordpress.com/downloads/bmcc-bmpcc-bozbmdfilm-to-rec709-lut/

Thank you.

http://www.eoshd.com/2017/04/super-35mm-4k-comes-canon-5d-mark-iii-new-magic-lantern-module-real/

The Canon 5D Mark III will now record 4K, raw thanks to A1ex and his team at ML. The resolutions available are: 1920×960 @ 50p (both 1:1 crop and full-frame – 3×3 pixel binning) 1920×800 @ 60p (same as above) 1920×1080 @ 45p and 48p (3×3 binning) 1920×1920 @ 24p (1:1 square crop) 3072×1920 @ 24p (1:1 crop) 3840×1600 @ 24p (1:1 crop) 4096×2560 @ 12.5p (1:1 crop) 4096×1440 @ 25p (1:1 crop)

Limitations currently exist, of course (no sound is recorded and B/W display) but recording time seems very useful (no limits quoted, if they exist.)

Follow link below....

Currently, I seem to only be able to get to the 1920 X 1080 setting when I choose HD, but then it shoots in Frame Rate of 60fps.

Please advise.

And here is a test vs The Xiaomi Yi 2:

I ordered my H8 Plus (with 720p240 and 1080p60 stabilized) for 119$ on banggood. There is a "ProTune" mod in the works here: https://dashcamtalk.com/forum/threads/eken-h8-pro-finally-real-4k.21605/page-2

Adding a 36$ 90°FOV lens, and some higher bitrates, this thing is a brilliant bang for the buck! Anyone have any experience with it?

I'm selling a very gently used GY-LS300 with a full set of MFT lenses. Everything is in excellent to like new condition. Here's a list of what is included:

• JVC GY-LS300 4K/Super 35mm camera
• Two batteries w/ two chargers
• Voigtlander 17.5mm/f0.95 lens
• Voigtlander 25mm/f0.95 lens (not de-clicked)
• Voigtlander 42.5mm/f0.95 lens
• Rokinon 85mm/t1.5 lens

I've been the sole owner of all of this equipment and have taken very good care of it. If interested, I'm happy to share more pictures to show what quality things are in and happy to elaborate on any questions folks might have. All the equipment is in perfect working condition and I have used it very recently. I'm asking $3750.00 for everything and not interested in negotiating, it's priced to sell!

Cheers,

Joel

We just finished a commercial film production and thought I share some insights on why we have chosen to shoot this with the GH4. Our key requirements have been

1. 10Bit 4k capability (greenscreen project!)
2. Light weight (we had challeging camera angles and limited budget for rigging => e.g. birdeye shots with shitty rig)
3. Long battery life (we didn't want to add external battery solutions => our rig had very low weight limitations)
4. Problem free (e.g. no overheating)

So after long discussions choosing between Sony A7s II and GH4, we decided to use the latter one and I don't regret this decision.

We had a lot of challenges but they have not been regarding camera choice, more related to the customers corporate colors (yellow turning green in shadows) and lighting the massive greenscreen. The only real challenge on the GH4 for us was the shitty HDMI port but we solved that with adding a Zacuto Port Protector (without that, it would have been a nightmare!).

But judge for yourself, feedback welcome! (note: the project required massive effort in post production)

Feature Summary:

• 4K Ultra HD video recording @ 30 fps.
• High definition video recording at 720p @ 240fps and 1080p @ 120fps.
• Burst mode support for still image capture of over 700 Megapixels per second.
• Multi-exposure High Dynamic Range (HDR) imaging support, including local tone mapping, preserves image details in high contrast scenes.
• Electronic Image Stabilization (EIS) with rolling shutter correction.
• 3D Motion-Compensated Temporal Filtering (MCTF) with de-ghosting for reduced artifacts and low light performance.
• Support for applications including wireless preview, playback, and upload of stills and videos to a smartphone or directly to the Internet over WiFi.
• Interfaces such as DDR3L, USB 2.0 host, HDMI, and SDXC SD card.
• Low power – <1W for 1080p60 encode, <2W for Ultra HD 4K encode.

The A9 Camera Development Platform contains the necessary tools, software, hardware and documentation to develop a state-of-the-art network-enabled Ultra HD camera design.

Hardware Platform:

• Main board with A9 and sensor board with C/CS mount lens
• Sensor: Aptina, OmniVision, Samsung, Sony--many choices available Software Development Kit (SDK)
• Royalty-free libraries for ISP, 3A, and codecs
• Demonstration DV/DSC camera application with full source code
• Extensive and fully documented middleware API library suite Documentation
• Programmer's guide, application notes, API documents
• SoC data sheet, BOM, schematics and layout files

Official announcement: http://www.ambarella.com/news/33/74/Ambarella-Introduces-4K-Ultra-HD-Video-for-Next-Generation-Mirrorless-Sports-and-Digital-Still-Cameras.html

Product info PDF - http://www.ambarella.com/uploads/docs/A9-product-brief.pdf

Other pages about the Ambarella A9:

• http://www.anandtech.com/show/6652/ambarella-announces-a9-camera-soc-successor-to-the-a7-in-gopro-hero-3-black

Here's the results: