Does anybody know what's next for sensor technology?

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Despite resolution advantages, full frame sensors do not excite me. I guess I'll come around when we can light to T/8 or T/5.6 at all times.

I look forward to Medium format, but yeah, not until we can choose settings based soley on aperture, rather than iso.

The FF with crop modes are interesting. Like the Nikon D4. Though, downsampling would be preferred over line skipping. But I like the crop modes for the obvious reasons, like expanding a prime lens utility, and having distortion options in lensing. I love a 50mm on FF35, but don't care for it in apsc. But I also like it for low light sensitivity vs dof field options: 2.7x crop using an f-stop of 2.0 isn't so daunting. And shooting at F8 on FF35 during the day means less ND.
 
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I wouldn't care much about format, so long as I could stop down on bigger formats so that my DoF wasn't out of control shallow and I'd hope we'd have cinema glass for those larger formats in some time, something along the caliber of proper high level cine lenses we have now. If you think MP's are expensive now, imagine them made for Medium Format. Whoa nelly! That will cost a pretty penny.

So until I can get a FoV and DoF that matches what I like now, and have lenses which help me as much as they do now, I won't be happy giving up the status-quo unless the film calls for such a specific aesthetic.
 
But at the end of the day, I am not worried too much about the sensor size. 2/3" to s35 work fine. I am mainly concerned about dynamic range, color accuracy, and the ability to do both bright and low light on the same camera without excessive ND or noisy gain.
 
A full frame 3.5k bayer pattern chip would have extremely large pixels. Twice the size, maybe even 4x the size of the current F3, and deliver a crispy 1080p. You would get something like 0dB, being equivalent to 3200 iso, with 18db being like 25,000ISO but with noise performance like the F3 and c300 at 12dB. In other words, insane performance, even beyond what we have now.

On the other hand , why? What would you need that for. I would prefer a 4k camera with 14stops DR, @ ISO100

That is the allure of a dual hybrid sensor which has both massive photo sites and an accompanying small photo site for both HDR and to have the option to shoot at low and high ISO's natively. In other words the each set of photo sites could be used together or individually.
 
Ok, just got a massage from Vladimir again, and here is what he says about the dual pixel technique:

"Actually, Fujifilm abandoned it a long time ago. Once we start thinking about all the details, it has a full load of problems. For example, chief ray angle is different between small and big pixels, color crosstalk is different too, any small bit of blooming from big pixels destroys small pixel's signal. etc.


All in all, I do not think it's a useful idea, not for general purpose photography anyway.
" - Vladimir, Image Sensors World

I do not understand the intricate technicalities of sensor making, but I can get the idea of what he is saying. But if you look at the Fuli design we are referring to, both photo sites on the sensor shared a lenslet:

srstructure.jpg

I wonder if they used separate lenslets, or if the chief ray light is still too different? Would that make a difference, or would that bring in other issues, like moire? But that doesn't solve crosstalk, if the crosstalk is electrical.
 
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There is always over over/underscan....
 
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Yeah. Looks pretty good. Making it work on people and look natural is the hardest part.
 
Some recent news which may reflect were sony will be in a year or two...

24fps at 18 mega pixels. Also known as 18 megapixels at 24fps. Or a 18MP camera shooting 24 frames every second continuously.

It is a 1/2.34" sensor aimed for the consumer market. So, they probably won't have a data pipe line, nor a graphics card to compress 18mp 24fps. We'll see.

Sony.jpg

source:
http://image-sensors-world.blogspot.com/2012/02/sony-announces-18mp24fps-bsi-sensor.html
 
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