I ordered 2 of these cards recently for my Moon 7 hacked GH2 and now i urgently need to upgrade to a GH4 setup. I wanted to know whether these cards work well without any freezes or issues on all modes of video on the GH4 including the 4K 100 mbps and FULL HD 200mbps modes? (attaching a pic of the cover of the card i have which has the exact model look and details on it.

Is the model i have up to handle the 4k footage from the camera? Or do i need to go for better ram?

If yes, is the Ripjaws a good option (http://www.newegg.com/Product/Product.aspx?Item=N82E16820231732) or anything better is out there in the market currently that i should rather go for? (Provided the voltage is in accordance to my laptop).

Thanks in advance

• Intel Core i7-4710HQ 2.5 GHz Processor
• 16 GB DDR3 RAM
• 256 GB Solid-State Drive + 1 TB 5400 rpm Hard Drive
• 15.6" 3840 x 2160 IPS Screen
• NVIDIA GeForce GTX 860M with dedicated 2GB RAM
• Below $1500 price

http://www.amazon.com/Acer-Aspire-Edition-VN7-591G-70jy-15-6-Inch/dp/B00NJNG2NY

The mini 4K camera can also be attached to the MT-GB001 gimbal option; this may be used with a helicopter system for aerial shooting, with anti-shaking and anti-blurring technology ideal when used with a handheld system. So, while the mini 4K camera produces images suitable for cinematic applications, the system also has applications for broadcast news and could open a whole new world for broadcasters.

BUT - an unexpected project just came up and I'll be shooting doc interviews straight away. Producer just found out I have a GH4 and asked about shooting 4K -- mostly to have better reframing options in post.

My first (and second) instinct is to say "not a good idea" because I know I can deliver beautiful 1080P with no surprises in post. And no one on this project has 4K experience. Post will be quick: Adobe Premiere CS6, 1080P timeline and minimal grading if any. All the shoots will be interviews, interiors, nicely lit. SD cards limited to existing Sandisk Extreme Pro 95mb/s.

Frankly, the real problem is that I'm overwhelmed by the number of 4K recording options for resolutions, recording formats and data rates, with little time to figure things out. (And no time for testing so I can have my own professional certainty.)

Anyone with GH4/Premiere experience have any wisdom or suggestions about "safe and easy" 4K recording format settings for this situation? Or links to good discussions/posts about merits of the various 4K format choices on the GH4?

Any advice, help or links will be much appreciated. Thanks!

http://shop.panasonic.com/shop/model/HX-A500H

I can't describe it, I have to link it! lolz

I'll Include pictures of each item.

1. There is some sort of square in the middle of the screen. I believe it has to do with the focus assisting. Is there a way to get rid of this square? I understand it's purpose, but I think it gets in my way, especially with the touch screen becuse it can move.

2. The AF box in the lower right hand corner. Again, I understand why it's there and what it does. But I don't always want that option available. It's just taking up real estate on my display.

3. My guides and info dissapear from the display after 1 minute of sitting. Is there any way to keep them displayed?

4. (no picutre included) This is one I've kind of grown to enjoy, but is there any way to remove the side quick menu from the display?

I'd appreciate any help! Thanks!

Here is my first hand's on with the SLR Magic 10mm T2.1 I just received on wednesday in premiere, and also with their new variable ND filter :)

SLR Magic 10mm T2.1 on GH4 4K and 96fps 1080p mode

My very first impressions : solid, heavy (420g), compact, sharp at full aperture T2.1, only 2cm minimum focus distance. The ND filter : good first impressions, and two great options on it : lever and hard stop ! Perfect for video !

• SLR MAGIC 10mm T2.1 (f1.8 eq.), most of the clips @ T2.1
• SLR Magic ND variable filter

--

• GH4 4K cinema mode + 96fps 1080p mode
• Vcine mode with Andrew Reid presets
• No color correction

Music : Trentemøller « Come Undone (Trentemøller Remix) »

• sRGB, AdobeRGB, DICOM, DCI color presents
• factory calibrated
• 10-bit PLS (Samsung IPS analog) panel
• 2xDisplayPort 1.2 , DVI-DL, HDMI ports
• USB 3.0 hub

• IPS Panel
• 31.5" / 80 cm diagonal
• Native Resolution - 3840 x 2160 (60Hz, 16:9 aspect ratio)
• Viewing Angles (H / V, typical) - 178°, 178°
• Brightness - 300 cd/m2
• Contrast Ratio - 1000:1
• DisplayPort 1.2 x 2 (with HDCP 1.x), DVI-D 24 pin x 1 (with HDCP 1.x), HDMI x1 (with HDCP 1.x)

http://www.eizo.com/global/press/releases/htmls/ev3237.html

http://www.eizo.com/global/products/flexscan/ev3237/index.html

Picked it up today at Tiger Direct with 4 yr Square trade warranty (essential for early adopters)...

Will let you know how it pans out, astounded by the price, let's see the quality now...

Availabe at:

• http://www.amazon.com/Seiki-Digital-SE50UY04-50-Inch-120Hz/dp/B00BXF7I9M/ref=sr_1_1?ie=UTF8&qid=1370488824&sr=8-1&keywords=Seiki+Digital+SE50UY04

http://www.tigerdirect.com/applications/SearchTools/item-details.asp?EdpNo=7674736

• 3840 x 2160, 5000:1 Dynamic Contrast Ratio
• 4K Ultra-HD 120Hz HDTV
• Remote Control with Batteries
• One HDMI Cable
• Three HDMI Ports
• Tabletop Base
• Instruction Manual
• The HDTV supports component and HDMI sources at 480i, 576i, 480p, 576p, 720p, 1080i, 1080p and 4K2K 30Hz on the 50” screen.
• 5000:1 Contrast Ratio

Update 1: We had lots of fun today with this set. 4K and higher res Medium Format Photos look very good on the panel, as well as HD sources. Looks like a good inexpensive option for a UHDTV Computer Monitor. It is a basic panel, has inexpensive audio, two USB ports support playback of music and photos (Sorry, no video via USB). It has a scaler to fit height or width, and appears to give you back what you feed it... Garbage in/garbage out, etc.

BIGGEST PERK: IT'S PORTABLE!! Yes, it's slim and light enough for 1 person to move around. So far, it is an absolute steal at $1299 for April 2013...

You need to feed it an UHDTV signal over HDMI to get "4K" display of video. We have not had a chance to calibrate it yet, but it does look like a typical LED display, however with 4K resolution. Moving onto video display at UHDTV resolution next rounds...

UPDATE 2. I attached the 3840x2160 at 30Hz setting photo with one of my favorite websites while showing the Prometheus landed (c) 20th Century Fox, in the center top. NOTE the DVD size in relation to the entire screen. 4 of those little rectangles is HD. Cheapest setup possible- AMD 7970 and single HDMI cable on WIndows XP... Who needs displayport or HDMI 2 or thuinderbolt, when HDMI 1.4a will do for film and photo editing today at this low cost?

CONCLUSION: the SEIKI 50" SE50UY04 is a winner for lowest cost UHDTV Video/Computer Display in April 2013! A great achievement, and I strongly recommend an extended warranty with any new technology like this.

IF you liked this post please share it with others, consider contributing and remember to PLEASE SUPPORT WWW.PERSONAL-VIEW.com with a donation today.

2 great updates:

1. A pro color Calibrator in LA works on the Seiki and tweaks it enough to pass as an inexpensive 4K Client monitor option

http://www.reduser.net/forum/showthread.php?98027-1299-Seiki-UHDTV-50-quot-SE50UY04-Bought-it-today/page30

1. some have successfully accessed the "locked" Advanced menu on this set...

http://www.reduser.net/forum/showthread.php?98027-1299-Seiki-UHDTV-50-quot-SE50UY04-Bought-it-today/page29

This is a Nikon B4-mount ENG lens.

While this may be an "SD" lens, I put it head to head against my Micro-4/3 (M43) still photography glass and this lens more than holds it's own.

This is because the M43 lenses are corrected in camera.

This Nikon is just purely great.

You can shoot HD with this lens.

I'm already shooting 4K with this lens on my Panasonic GH4 in full Digital Cinema mode and there's no vignetting.

If you use the full M43 sensor (for HD) then you see a little vignetting in the corners. But the 4K modes use a slightly smaller crop area and this removes any vignetting. The same can be said for the Blackmagic Design Pocket Cinema Camera's Super 16mm sized sensor area. You would have no vignetting there either.

This lens is PARFOCAL- which means that, once you set the backfocus to your camera/sensor, you can zoom in, get your focus, and zoom out. It's always in focus.

This lens is VERY WIDE. Most B4 lenses start around 8mm. This starts at 5.5mm. In M43 terms, it's like using a 7mm lens to shoot DCI 4K video.

It goes down to an f1.7. And it's a flat 1.7 across the entire zoom range. Like any very low aperature lens, the image qualty steps up once you get to f2.8 or so, but when you need those extra stops, this lens has them.

It has an internal "DOUBLER." But this one is not a full 2x, it's a 1.7x which means there's more light hitting the active image area of your sensor because the "doubler" doesn't spread it out as far as a full 2x doubler.

It has a MOTORIZED SERVO ZOOM. This means you can provide the lens 12v power (adapters are readily available on e-bay) gently push the zoom rocker, and the lens will gently creep through the zoom range- without the lens adjusting the iris in the middle of your shot like it does with still lenses. The motor can be disengaged and the lens used completely manually too.

This lens focuses down to 1-FOOT. You read that right. 1-foot. The other B4 lenses I see all have a minimum distance of several feet. But this lens you can zoom in to a very small item just 1 foot from the front of the lens and you can focus on it without even using the lens' macro.

It has a MACRO. Which means you can pull the focus even closer. And unlike other B4 lenses I've used that lock the Macro out, the Macro on this Nikon lens can be used even with the doubler engaged.

OMG! There has got to be SOMETHING wrong with it.

Well, yes, there is. When it got shipped to me from Europe, the manual/servo rocker arm got banged. It's a bit more wobbly than it should be. It still engages and disengages the motor, but you may have to wiggle it a bit. The servo motor still works, but sometimes, if it's not engaged fully, the connection between the motor and the teeth on the lens can be intermittent. If you want to open up the lens and see if you can adjust this to make it better, it's just four screws away. You could also remove the servo grip entirely and the lens would work perfectly as a fully manual zoom with teeth ready for any follow focus system you'd like to add. Personally, I like the grip because it's in the middle of the lens and it balances very nicely in my hand, even with the big Panasonic GH4 on the back of it.

I see there's actually another Nikon B4 lens for sale on e-bay right now and the grip surface around the lens is peeling away. That lens is banged up. That lens has clearly seen many years of service.

THIS lens, on the other hand, looks and feels new (except for the manual/servo switch).

It's VERY clean.

The grip is in GREAT shape, though the leather part of the hand strap does show some wear, it's perfectly functional.

The focus, zoom and iris are SMOOTH.

The doubler pops in and out beautifully.

The optics are CLEAN. Surprisingly clean.

It has a rear lens cap.

It has a front lens hood with protector glass integrated into it.

There is no front cap.

Look at the pictures.

Watch the video.

This thing is amazing and whomever wins this auction will be capturing stunning images with this lens for a long time to come.

Could we convert the signal in some way to SDI to use existing recorders like the Odyssey, Gemini etc?

Details to follow. Currently in Falmouth.

This is in my top 5 favorite creations to come from a gh2. the shot at 0:20 is EPIC, along with the clip of a storm rolling in at 2:20

lol -->"610GB worth of photos" he list just about every other tech spec/location on vimeo.

It is 4 core Cortex A7 based CPU, 8 core GPU, and special hardware video decoder.

Via: http://www.pcpop.com/view/0/861/861693.shtml?r=04105314

Features:

• Native 64-bit application
• Support for RAW image formats
• GUI adjusts in auto for high DPI screens - very important if you work on 4K display
• Support for professional formats (XDCAM, AVC Intra, DVCPRO, ProRes and more)
• Scalable proxy editing
• 4K full support
• native 64-bit software!
• all video effects re-arranged and improved
• improved performance in general
• OS: Windows 7 and Windows 8.x
• Vectorscope, wave form monitor, RGB-parade and histogramm added (finally)
• support for numerous plug-ins (like for Neat Video since ver. X5)
• Primary and secondary 3-way color correction
• Multicam editing on up to nine tracks.
• Full Stereo3D support
• Precise Surround Sound audio editing in broadcast quality
• Disc authoring for DVD, AVCHD and Blu-ray Disc
• Broadcast quality file export with batch processing
• Top quality bonus plug-ins from proDAD and Red Giant

About new software version:
http://pro.magix.com/en/video-pro-x/overview.275.html

Now with 4k coming along, I'm wondering if these older lenses will have any chance of producing the detailed images that the higher resolution sensors are capable of. Or, whether the way forward would be to use an RJ or Metabones speed booster with these lenses to get the detail/ resolution? It would be a shame to not be able to get the benefits of 4k unless using m43 lenses.

Does anyone have any experience, or opinions on this subject? I'd appreciate any comments.

The Sony FDR-AX1 Digital 4K Video Camera Recorder is the first consumer 4K video camera from Sony. They've used the technology developed for their professional video cameras to create a compact, easy-to-operate 4K consumer model that's designed to make 4K video and professional-quality audio available to the masses. The FDR-AX1's powerful image processor is identical to the high-performance processors found in Sony's professional video cameras. By incorporating an image processor that can handle 4K video at 60 fps into a consumer camcorder, everyone will be able to document important family moments, get creative with friends, record sporting events and capture the world around them in lifelike detail. The FDR-AX1's native 3840 x 2160 4K resolution enables you to create movies with four times as much detail and quadruple the image quality of a Full HD 1080p camcorder. Plus, this model features a back-illuminated 8.3MP Exmor R CMOS image sensor that works in concert with the processor so you can record at the maximum frame rate - even when shooting 4K video. This means that even your high-speed action shots and sports videos will be clear, sharp and detailed.

In order to provide 4K video recording in a consumer model, Sony designed the FDR-AX1 to support the XAVC-S 4K/HD recording format which is usually reserved for professional applications. However, since the XAVC-S codec will save as an MP4 wrapper, you can still create web-friendly videos that can be easily shared on social media sites like YouTube. Another highlight of the XAVC-S recording format is its ability to record images at 150 Mbps in 4K. In fact, it can record images at 50 Mbps even when you're shooting in Full HD 1920 x1080 resolution. The FDR-AX1 has also adopted a more professional-type of recording media thanks to the inclusion of dual next-generation XQD media card slots. Both XQD card slots support fast 4K/HD writing and reading rates. Plus, you can use the relay recording function to switch between XQD slots and lengthen your recording time. You'll also be able to quickly transfer footage via SuperSpeed USB 3.0 from your XQD cards to your PC by using an optional XQD reader/writer with a USB 3.0 connection.

Another feature that makes the FDR-AX1 a professional-class consumer video camera is its audio recording capability. It records 2-channel Linear PCM audio with a built-in high-performance stereo microphone. However, the camera also features dual integrated professional-class XLR audio inputs for connecting external microphones. You'll even be able to mix audio tracks from the internal microphone with the audio recorded from any connected external mics. There are a variety of shot-enhancing functions and manual control options as well. More experienced videographers will be able to take advantage of the independent zoom, focus and iris rings. Plus, the camera's viewfinder and LCD monitor employ Peaking, Zebra and Center Marker functionality for more advanced shot setup and autofocus options.

Other image-enhancing features include three ND filters and five unique Paint functions, which will help you achieve a more cinematic aesthetic with your movies. The FDR-AX1 has flexible connectivity options as well. Besides the XLR audio inputs, the camera is equipped with a headphone jack, an HDMI output that will transfer 4K footage to compatible 4K Bravia TVs, a USB 2.0 port for fast data transfers, an analog A/V output, an accessory shoe and more. With the flexible connectivity options, professional-class features, 4K recording capability and ease-of-use, the FDR-AX1 bridges the gap between consumer and professional-class. While experienced videographers will be able to really produce great video and audio with this model, even ambitious beginners will be able to master this camera and capture professional looking, cinematic 4K video with ultra-clear stereo audio.

Capture 4K 3840 x 2160p Video at 60 fps

This model supports 4K 3840 x 2160 resolution. With four times better than Full HD 1080p image quality, you'll be able to capture the finest details at high resolution and produce vibrant, realistic images. Plus, the fast image processor is the same one employed in professional Sony models, making it possible to record 60p movies at the camera's full resolution for smooth playback with no loss in realism - even when panning the camera and shooting moving subjects.

Sony G Lens with 20x Zoom

The Sony G Lens is an aspheric lens with special low-dispersion glass. It's specially tuned to capture subtle qualities of definition and color. In addition, the lens offers a broad 20x optical zooming range with a 31.5 - 630mm (35mm equivalent) focal length that enables an expansive range of video expression.

1/2.3" Back-Illuminated 8.3MP Exmor R CMOS Image Sensor

Sony's unique Exmor R CMOS sensor has a back-illuminated structure with wiring layers on the back of a photodiode (light receiving element) that dramatically boosts low-light sensitivity for shooting more lifelike images - even in dim lighting. This Sony technology also makes the camera nimble, so it can read massive 4K data at 60 fps.

Professional Image Processor for Real-Time 4K / 60 fps Recording

The FDR-AX1's image processor is identical to those in 4K camcorders used by professionals. It rapidly processes signals transmitted from the CMOS sensor and finalizes images. In processing the vast 4K data in real-time at 60p, the processor achieves four times the resolution of the Full HD 1080p format. This processor also features high-performance noise reduction for truer images, while image quality adjustment functions support greater freedom of expression. It is also specially tuned for the FDR-AX1 to deliver accelerated image processing performance.

XAVC-S Consumer-Use 4K/HD Recording Format

The FDR-AX1 records 4K/HD movies in the XAVC-S codec, which was developed for consumer usage based on the professional XAVC 4K/HD codec. XAVC-S uses MPEG-4 AVC/H.264 long GOP for video and LPCM for audio compression, while saving files in MP4 format. The XAVC-S codec also allows longer recording times within a given media capacity than XAVC, making 4K recording easier and more convenient.

XAVC-S 150 Mbps 4K Video & 50 Mbps HD Video

With the FDR-AX1, high-quality XAVC-S video can be recorded at up to 150 Mbps. Additionally, there is also an option to record high-quality Full HD 1080p video at 50 Mbps.

Dual XQD Media Card Slots for High-Speed 4K Recording & Playback

The FDR-AX1 features two XQD media card slots. XQD media cards provide smooth, high-speed reading and writing of 4K/HD video. Plus, a relay recording feature makes it possible to lengthen recording by automatically switching between two or more media options. You can quickly transfer data to a PC as well, by using an XQD reader/writer with a USB 3.0 connection. The FDR-AX1 is compatible with S-Series, H-Series and N-Series XQD media card types.

View 4K/60p Video on Compatible BRAVIA TVs with Supplied HDMI Cable

The FDR-AX1 supports playback of your recorded 4K content on a 4K TV by simply connecting the two devices using the supplied HDMI cable. Thanks to the camera's original function, you'll be able to transmit 4K/60p (4:2:0, 8-bit) signals to a Sony BRAVIA 4K TV, which is specially tuned to bring out the full quality of your 4K/60p video recordings. Even fast-moving sports and action footage will be clear and smooth. To enjoy this content on a Full HD monitor, simply change the menu HDMI output settings to 1920 x 1080. If you have a 4K monitor, you can use the supplied HDMI cable to transmit 4K/30p signals from the camera to the monitor.

TRILUMINOS Color Technology

The FDR-AX1 supports Sony's TRILUMINOS Color technology, which allows you to view photos and movies in rich, natural colors on any TRILUMINOS-equipped television. The expanded color gamut ensures lifelike, vivid colors when you playback your recorded video and still shots.

Save 4K Video Content to Your PC

The FDR-AX1 provides two methods for connecting and transferring footage to a PC. You can use a USB cable or insert your XQD memory card into an XQD reader/writer that is connected to your PC. You can also save data from the camera to other media sources like external HDDs. Once you've download data onto your PC, you can use Sony's PlayMemories Home software to manage and play your videos. You can edit video with the XAVC-S-compatible non-linear editing software as well. After your footage is edited, you'll be able to upload and share your 4K movies on social media sites like YouTube.

Built-In Microphone & Professional-Class Audio XLR Terminals

In addition to a high-performance internal microphone, the FDR-AX1 features two external XLR jacks for connecting external microphones that can also be used to record superior-quality audio together with your movies. You can also mix audio from recordings made using the internal microphone and externally connected microphones, respectively.

Three ND Filters & Five Paint Functions for Expressive Cinematic Looks

The FDR-AX1 features three ND filters for adjusting the amount of light entering the image sensor from the lens. There are also four filter settings: Clear, 1/4 filter, 1/16 filter and 1/64 filter. These filters and settings give users the ability to match shooting conditions, as well as adjust the shutter speed and aperture even on bright, sunny days. There are also five paint functions (white balance, gamma, detail, skin detail, matrix) that can be combined and adjusted in the paint menu to create expressive movie styling such as cinematic looks.

Seven Assignable Buttons & Three Independent Control Rings

The FDR-AX1 was designed with two start/stop buttons. One is located on the side of the camera grip, while the other is located on the handle. This affords ease-of-use while shooting. The handle also features a zoom button that enables convenient access while shooting from low angles. There are seven assignable buttons as well, which can be programmed with functions that enable users to quickly access them without using menus. Assign functions include: Marker, Zebra, Peaking, Focus Magnifier, Auto Exposure Level, SteadyShot, Color Bars, Rec Lamp [F], Rec Lamp [R] and more. Having seven assignable buttons will allow you to adjust to varying shooting conditions on-the-fly. There are also three manual control rings on the camera for focus, iris and zoom.

Zebra, Peaking, Center Marker & Guide Frame

Shooting tools such as Zebra, Peaking, Center Marker and Guide Frame are designed to assist you in shot setup. They'll help you get the cinematic expression you are after. Zebra highlights overly bright areas with stripes in the LCD and viewfinder. This feedback helps users adjust brightness and prevent whiteout, especially on the subject. Peaking simplifies focusing by highlighting in the LCD and viewfinder the areas most sharply in focus. Users can finely adjust the peaking level and choose white, red, yellow or blue peaking to clearly contrast with the subject. By making it easier to know where the shot is in focus, this feature helps users achieve the desired manual focus setting. Determine the center of your image at a glance using the Center Marker feature in the LCD or viewfinder, while the Guide Frame works as a guide for aligning horizontal and vertical lines.

Specs:

• 1/2.3" back-illuminated Exmor R CMOS sensor
• 18.900,000 pixels
• Sony G Lens with Optical SteadyShot image stabilization
• 4.1 - 82 mm F/1.6 -F/3.4 (31.5 - 630 mm )
• Filter Diameter - 72 mm
• Minimum Focus Distance - 0.4" (1 cm), tele - 31.5" (80 cm)
• 6 aperture blades
• ND Filters - Off, 1/4, 1/16, 1/64
• Rings - Focus ring Iris ring Zoom ring
• Video modes
  • 4K: 3840 x 2160p at 60 fps (150 Mbps)
  • 4K: 3840 x 2160p at 30 fps (100 Mbps)
  • 4K: 3840 x 2160p at 30 fps (60 Mbps)
  • 4K: 3840 x 2160p at 24 fps (100 Mbps)
  • 4K: 3840 x 2160p at 24 fps (60 Mbps)
  • 4K: 3840 x 2160p at 50 fps (150 Mbps)
  • 4K: 3840 x 2160p at 25 fps (100 Mbps)
  • 4K: 3840 x 2160p at 25 fps (60 Mbps)
  • HD: 1920 x 1080p at 60 fps (50 Mbps)
  • HD: 1920 x 1080p at 30 fps (50 Mbps)
  • HD: 1920 x 1080p at 24 fps (50 Mbps)
  • HD: 1920 x 1080p at 50 fps (50 Mbps)
  • HD: 1920 x 1080p at 25 fps (50 Mbps)
• Dimensions - 7.44 x 7.6 x 14.25" (189 x 193 x 362 mm) including NP-F970 battery
• Weight - 5.38 lb (2.44 kg) camera only , 6.1 lb (2.77 kg) camera and NP-F970 battery

Available at:

• http://www.amazon.com/Sony-FDRAX1-Camcorder-Camera-Optical/dp/B00EVIJXBO

To expand its current portfolio of 4K Ultra High-Definition television (Ultra HD TV) line, Seiki Digital, Inc. (www.seiki.com), announced today the addition and availability of its 55-inch class 4K Ultra HD TV (SE55UY04). The new model is an exclusive model sold only through Sears online and more than 500 brick-and-mortar U.S. retail stores. The new Seiki 55-inch 4K model is currently available for $1,499 MSRP.

The latest 55-inch class model joins the current Seiki 4K Ultra HD offerings available through Sears which include a 39- and 50-inch models. The 55-inch set features a panel resolution of 3,840-by-2,160, and an input refresh rate of 120Hz on a 1080p signal and 30Hz on a 4K signal via HDMI 1.4 standard cable.

"In June, Seiki and Sears teamed up to introduce the 39-inch class 4K Ultra HD TV model, and demonstrated how it can be used for 4K digital entertainment as a TV or a PC monitor," said Frank Kendzora, executive vice president, Tongfang Global, Inc., for Seiki Digital brand. "Sears will be an exclusive authorized retailer offering the Seiki 55-inch class 4K model. With the new model and Sears, Seiki is staying at the forefront of introducing an immersive 4K Ultra HD experience to consumers, and offering the best value in large-screen 4K Ultra HD TVs with exceptional build quality."

Seiki 4K Ultra HD TV was recently recognized and presented with the ninth annual POPULAR MECHANICS' Breakthrough Awards as one of the top ten products setting benchmarks in design and engineering today.

The Seiki 55-inch class 4K model features a thin piano black finish bezel, 54.6-inch diagonal panel size, built-in digital and analog channel tuning, USB port for displaying 4K photos via USB flash drive, and multiple video and audio connections to support current standard and high-definition video content. The model is also packaged with an HDMI 1.4 standard cable.

http://www.seiki.com/products/seikiPro/4k.php

Will be available at Sears

Expanding the color gamut of UHD was hot topic. Much as already been said about the gamut known as Rec.2020, which encompasses a significantly wider range of colors than HDTV's Rec.709 and even the digital-cinema P3 gamut. (Actually, color gamut is only one part of Rec.2020, which is more formally known as ITU-R Recommendation BT.2020 and also includes parameters such as display resolution, frame rate, color bit depth, and color subsampling.)

Some presenters advocated going much farther by using the XYZ color gamut, which extends well beyond the entire range of colors visible to the human eye. By using XYZ, the system would be entirely future-proof, accommodating any display technology that might be developed without having to create a new system all over again.

Frame rate was also debated. Of course, higher frame rates result in sharper motion detail, especially if the camera's shutter aperture—the fraction of the entire frame duration that the shutter is open—is low. (The longer the shutter is open during each frame, the blurrier moving objects appear.) However, a low shutter aperture also increases visible judder, a stuttering in what should be smooth motion. Also, higher frame rates look less like film and more like video, which many cinephiles object to. Still, many presenters said, in effect, "Get over it, this is the future we're talking about!"

Richard Salmon of the BBC brought some demo material comparing standard and high video frame rates—50 vs. 100 frames per second for Europe and 60 vs. 120 fps for the US. In the European clips, the 50 fps material was shot with a 50% shutter aperture, while the 100 fps footage was shot with a 33% aperture; in the American clips, both 60 and 120 fps were shot with a 50% aperture. In all but one case, the objects in motion were much sharper at the higher frame rate, and I did not see any judder. The only exception was a side shot of a woman juggling three bowling pins, and in that case, there was no improvement in the motion sharpness because, we were told, the human visual system cannot resolve rotating motion very well.

HDMI 2.0 was mentioned by Peter Putman, a well-known industry analyst and journalist whose presentation focused on the consumer-display side of the equation. According to his calculations based on using the RGB color space, HDMI 2.0 with 18 Gbps of available bandwidth can convey UHD at 60 fps with 8-bit color but not 10-bit, while DisplayPort 1.2 with 21.6 Gbps of bandwidth can handle 2160p/60 with 10-bit color using RGB coding.

Most of the presenters advocated for UHD to adopt the entire Rec.2020 suite of parameters, including a resolution of 3840x2160, the specified color gamut (if not XYZ), frame rates up to 120 fps, at least 10-bit color (preferably 12-bit), and 4:2:2 subsampling (if not 4:4:4). However, HDMI 2.0 at 18 Gbps can't accommodate all these upgrades, so we face a dilemma—increase HDMI 2.0's data rate, abandon HDMI for DisplayPort, or accept lower standards for UHD.

Check rest at http://www.avsforum.com/t/1496765/smpte-2013-uhd-symposium

It's a 'GH4K, won't be out 'till next year. But I know some people who know some people that rob some people!(Cit.)

I know they are out there lurking on us speak loud!

This is the official Panasonic Lumix GH4 whist list.