Sony is not only pushing the frame rate boundaries of CMOS sensors with their Stacked technology; but now it’s implementing and improving on the design with circuitry that can track objects with pinpoint electronic precision based on pixel colors, contrast, and motion vectors. The result the IMX382 is a complete tracking sensor solution that could one day be used for full AF during high-speed video capture by accurately representing the scene.
While 1000fps is not the end all be all of high-speed frame rate, the fact that it can accurately track with very little lag the object motion in front could one day translate into perfect autofocus capability for many types of cameras. Not only the focus department is improved by this technology but now you can use the sensor in all sorts of industrial, law enforcement, traffic cameras and monitoring solutions for robotics.
The recently announced Hasselblad True Zoom is an add on module for the Moto Z + Moto Mods™ smartphone platform which lets you add modules to your already very capable phone to increase it’s feature set. A Pico Projector, a much larger battery, a JBL speaker set and now the Hasselblad True Zoom 10x Optical zoom are the current back plate options for this new ecosystem.
What may look like a gimmick to some; it may be the advent of a personalized and very powerful experience for the future of smartphone use. What if you could add the advantages of a larger camera sensor and higher frame rates with built in processing to your phone when needed. What if you could add a built in microscope back plate to the phone for biologists on the field or a sensor module for tracking scientific concepts with the phone as a central part of experiments. The sky seems to be the limit here.
Resolution is one of the most important aspects of any camera image. In slow motion it could be the difference in showing important details or just obscure an event all-together. In machinery failures during manufacturing; low resolution and high resolution can mean the difference in spotting a crack or bend in the process and that is hugely important.
For film makers and videographers resolution weights a lot when deciding upon a slow motion camera solution. Not to long ago slow motion cameras at or under 1 megapixel 1024*1024 for example was a novelty and a luxury. Nowadays 1280*720px or the lower end of HD resolution is easy to find and widely used. However 1080p and or 4k are the resolutions that seem to cause the most interest.
The VR of the 1990s was a certified gimmick ; technology wasn’t there for the most part and a simple system then by today’s standards was worth millions of dollars. Fast forward to 2011 when an inventive young man “only 18 years old then” Palmer Luckey built the first prototype of a VR headset in his parents garage. By the 6th generation prototype he named it the Rift and had a Kickstarter project to be able to launch to the gadget gamer community “raising US $2.4 million or 974% of its original target”.
With 4k TVs, projectors and computer displays entering the marketplace in droves it is only a matter of time until 4k finds it’s way into the super slow motion realm for TV, Cinema and scientific analysis.
There is a strong argument for the increased resolution when it comes to capturing at 4k in any frame rate. It gives freedom to crop or punch in for a Full HD shot and or stabilize footage with crop leeway on the borders without trashing a shot. It is also crisp in a way that can only be described as looking through a window; which is a funny analogy because when Full HD came out in the early 2000s that was used often to sell TVs and the new experience. Now we are told the real window is 4k and your perfectly functional 1080p 240Hz tv is next to useless. This is of course hardly a realistic view or currently installed TV technology.
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