Over the past 20+years, we have seen an ever-increasing demand for displays with higher and higher pixel count. This increasing resolution trend parallels home televisions where we have all seen a fairly rapid progression from standard video with approximately 307,200 pixels of resolution in the early 2000s to recent 4K TVs with 8,294,400 pixels. This is a 27-fold resolution increase in an approximately ten-year time frame. Just as 4K has become a commonplace term, we are now seeing the introduction of 8K displays for home and professional use. Read guest column by Kurt Hoffmeister from Mechdyne

NHK’s 8K satellite service, BS8K, will provide 8K coverage of eight live events at the 2020 Tokyo Olympics. This includes the opening and closing ceremonies, judo, swimming, track & field, table tennis, volleyball and football (soccer). Unfortunately, no broadcaster has opted to distribute 8K content outside of Japan.

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The use of 8K camera for film or movie capture is not new, but their use to create the three-screen content for a ScreenX or 4DX theater is new. According to CJ 4DPlex, the developers of these theatrical formats, the new film GUIMOON: The Lightness Door is the first one developed from the beginning with these venues in mind – and the first to be shot with a single 8K camera. Find more details HERE.

This very compact 8K camera (AB-4830) from Astrodesign was introduced at CES 2021. The company has now posted a video to explain the specifications and main features. It has a Super35mm sensor and global shutter with capture at up to 8K/60fps and 12 f-stops of latitude.

This utility software from Extron has recently been upgraded to allow support for HDR and 8K/60 video detection. This indicates growing use of 8K displays in the custom install and commercial marketplace.

ICG Magazine, the publication of the International Cinematographer Guild, published three articles on 8K in its July issue. Last week, we highlighted an article on Markus Föderer's take on 8K. This week, we link to 8K Association's Executive Director, Chris Chinnock's take, along with the IMAX point of view as described by Bruce Markoe, Sr. VP of Post Production and DMR.