forcode：昨天奇想录介绍了”超高速摄像技术“，目前最快的摄像机每秒可以拍摄100万张照片，当然，由于拍摄速度很快，每张照片的分辨率不会很高，一般也就400×300左右，否则每秒拍摄的录像体积会大得超出了相机芯片之间的传输带宽。那么，目前像素分辨率最高的相机发展到什么水平了呢？40亿像素！！每张照片的体积是24G！！想想你手里的数码相机最多也就1000万像素吧？目前世界上最先进相机的分辨率是它的400倍，已经超出两个数量级了。像素在一定程度上可以弥补变焦能力的不足，因为单位面积内更多的像素意味着可以捕捉更多信息，在下面的组图中，我们可以看到，站在棒球场一侧看台顶部拍摄一张全场照片，放大之后，居然可以看清远方每个人的表情，这实在是不可思议，就那么一秒钟的拍摄，可以捕捉到如此丰富的信息。目前Gigapxl Project的人们计划拍摄美国海岸线的全景图片，拍摄全球各种艺术品的高清晰照片，这种超清晰成像技术短期内可能无法民用。一旦民用，将激发出不可想象的丰富创意：在照片上数数蚂蚁腿上的绒毛有多少根、搜集照片中戴眼镜的人镜片反射的高清晰图像、像观察月球环形山结构一样观察某个人脸上青春痘的色彩结构并判断其成熟度以及预测其下一次”火山爆发”的时间、利用遥控飞机携带相机绘制自己家附近的数平方公里的高清晰航拍图、利用高清晰图片的丰富性开发针对一幅图片的探索寻宝游戏（所有寻宝线索隐藏在一张图片中）……

奇想录小专题：超高速摄像技术（视频和组图）
http://www.qixianglu.cn/627628.html

两位设计师和他们的杰作

目前民用数码相机，象素最高的也只有1600万，但是40亿象素的数码相机你见过吗？美国航天局为科研而特别研制的相机就使用了40亿象素的感光元件，40 亿象素可以拍摄出88000×44000的超大分辨率，这种尺寸的数码照片，如果不压缩的话，一张照片的容量将达到惊人的24GB！下面我们就去看一下这 40亿象素能带给我们什么样的感受。

海岸大桥全景，你注意到这还有人了吗？.G$P [ P o,G g

放大A

最后一副图中的人你能从原图中找出来吗？此时照片只有原始照片画幅的0.05%！

Gigapxl Project:
http://www.gigapxl.org/

Our Vision

Defining the upper limits of large-format film photography, digital scanning and image processing, custom-built Gigapxl™ cameras capture images with unprecedented resolution.

It would take a video wall of 10,000 television screens or 600 prints from a professional digital SLR camera to capture as much information as that contained in a single Gigapxl™ exposure.

The Project’s near-term goal is to compile a coast-to-coast Portrait of America; photographing in exquisite detail the cities, parks and monuments of the USA and Canada.

A longer term goal is to create for future generations a world-wide archive of vanishing cultural and archaeological sites.

Project Overview

The advent of digital technology has caused a revolution in the way we think of photography. Before this revolution, most of us thought of photography in terms of images captured on film that subsequently would be transformed into prints by way of photographic enlargement. However, rapid proliferation of digital cameras, scanners and printers has changed this perception. Even the prevailing jargon has changed. Where previously an image was described in terms of granularity and acutance, it now more often is defined by pixel count and dpi. Meanwhile, those of us who have spent much of our lives in the pursuit of film-based photography keep asking ourselves whether such photography can survive; and, if it does, what role will it play? When we debated this question in late 2000, it seemed reasonable to assume that digital cameras with resolutions in the 10-megapixel regime would become commonplace within a few years. This would put them in head-to-head competition with 35-mm film-based technology; perhaps even displacing that technology entirely within a decade or so. On the other hand, it seemed unlikely that digital cameras with resolutions much in excess of 10 megapixels would appear in the near term. Especially unlikely would be the emergence of digital cameras with resolutions approaching 100 megapixels. As a consequence, we felt it likely that film-based large-format photography would for the time being remain unchallenged. With this in mind, we have concentrated recent endeavors upon the application of ultra-high-resolution techniques to the field of large-format photography.

In defining the term “ultra-high-resolution,” we have analyzed each factor that bears upon the image forming process; especially taking into account the effects of atmospheric blurring, lens aberrations and film granularity. When it became apparent that the sought-for resolution could not be preserved via conventional photographic enlargement, the scope of our analysis was widened to include film scanners and digital printers. We concluded that, consistent with the largest practicable roll film format (9″×18″), we could expect to achieve a resolution equivalent to 1000 megapixels. Hence, came the name Gigapxl™. With recent developments, this figure approaches 4000 megapixels, but the name remains unchanged.

Subject to the limitations of human vision, a minimum of 8 square inches of print area is needed to convey the information contained in a 1-megapixel image. When scaled to 1000 megapixels, the minimum print area becomes 50 square feet. For prints made from our 9″×18″ format, this equates to a print which has a height of 5 feet and a width of 10 feet. Likewise, a 4000-megapixel print has dimensions of 10 feet by 20 feet. Meanwhile, close-up sharpness matches that of a 4″×6″ print from a 3-megapixel digital camera. The information content of a Gigapxl™ print can be compared to that available in a real
-world scene which is viewed through a pair of binoculars. In the case of 1000-megapixel images, one would require 6X binoculars; twice this power at 4000 megapixels.

The first Gigapxl™ cameras were completed and ready for test in February 2001; the first color landscapes being produced a month later. Early images had a pixel count of 260 megapixels (20-micron scan resolution) and were printed on photographic paper. Within a year, however, the count had increased to 670 megapixels (12.5-micron scan resolution). At which level, although substantially higher resolution was being achieved on film, the pixel count temporarily became constrained by issues related to scanner resolution and the file size limits of Adobe Photoshop. Meanwhile, with second-generation cameras (combining superior lenses and a variety of focal lengths) nearing completion, we switched from photographic printing to pigment ink printing. Working closely with Adobe, issues related to Photoshop file size have slowly but surely been resolved. Meantime, collaboration with Leica Geosystems (manufacturer of the DSW500 digital scanner) is about to yield scans with a resolution of 6 microns. At which time, numerous existing negatives will be redigitized at 2,900 megapixels. By year end (2004), we expect to push scan resolution to the 5-4 micron range; the corresponding pixel counts being 4,180 megapixels and 6,530 megapixels, respectively.

Extensive viewer response to Gigapxl™ imagery was first obtained in 2003. In March of that year, a 21-foot panorama of San Francisco was exhibited at The Albuquerque Museum. Four months later, a similar image was exhibited at the Palace of Fine Arts/Exploratorium in San Francisco. Aside from general expressions of awe, feedback mainly has centered around the extent to which ultra-high-resolution adds a humanizing touch to subject material which otherwise tends to be dominated by its monumental scale. Especially it has been noted that the ability to capture the minutiae of everyday life provides a level of interest not found in conventional cityscapes.

While technical issues which relate to scanning and digital processing continue to be addressed, current efforts are focused upon the expansion of an image portfolio. At this point, we have stockpiled some 500 images; a fair proportion of which already have been scanned at the 10-micron level. Subject material for the most part typifies the American landscape. To date, photographic forays have been made to all Provinces and States, with the exception of Hawaii. Notable urban subjects include cities such as San Francisco, Los Angeles, San Diego, Calgary, Colorado Springs, Dallas, Seattle, and Denver. Work in the National and State Parks/Monuments extends to Yosemite, Point Lobos, Mount Tamalpais, Mono Lake, Monument Valley, Canyonlands, Grand Canyon, White Sands, Mesa Verde, Canyon de Chelly, the Grand Tetons, Yellowstone, Devil’s Tower, Mount Rushmore, the Badlands of South Dakota, Denali, Jasper, and Banff.

In terms of the future, we have been much encouraged by the diversity of applications which continue to emerge. One of particular appeal relates to the documentation of cultural and archaeological sites which cannot be preserved and which inevitably will deteriorate with the passage of time. Many thousands of these sites are present around the world. Prime examples include entire cities such as Rome, Italy. In this instance, limestone structures which have stood for thousands of years have become the victims of acid rain. Stonemason’s chisel marks, until recently clear to see, have all but vanished. Only through a massive program of ultra-high-resolution documentary photography can such details be preserved for enjoyment and study by future generations.

Technology

It began with a seemingly simple question. As a designer and builder of cameras, what could one do that has not been done before? The question came on the heels of an earlier project which involved the design and construction of an astrocamera having a resolution of 0.01 millimeter across photographic plates that are 356 millimeters square. Recognizing this to be the equivalent of 1250-megapixel imagery prompted the question of whether or not anything comparable had been achieved in the context of landscape photography. Some back-of-the-envelope calculations concerning the performance of conventional large-format cameras indicated that it had not. Thus began a quest which has become ever more fascinating; namely the pursuit of full-color panoramic landscapes which contain prodigious amounts of information. Early on, the goal was set at 1,000 megapixels. However, as technology has advanced, the bar has been raised to 4,000 megapixels; a figure that we expect to reach within the next several months. At this level, a real-world 90-degree panorama would need to be searched with 12X tripod-mounted binoculars before one could hope to accumulate an equivalent amount of information. Unsurprisingly, a host of problems have been encountered along the way. But the results have been spectacular. And so, the fascination continues.

Since the equivalent of 1000 megapixels had been exceeded with the astrocamera, it might seem that one simply could point a similar camera toward the horizon and the original goal would be achieved. But landscape photography is very different from astrophotography. When photographing through a quiescent night sky, it is not unusual to create imagery wherein each pixel equates to no more than a couple of arc seconds. Hence, a photograph encompassing one square degree of sky can have a pixel count on the order of 3.2 million. By extension, a night-sky exposure having an angular diameter of only 20 degrees can, in principle, contain 1000 megapixels. As we shall see, however, near-horizontal paths through the daytime atmosphere are vastly different from near-vertical paths at night. We find, for example, that, particularly in the context of landscape photography, the limitations imposed by atmospheric transmission drive us toward very large fields of view. Likewise, the limited resolution of color-negative film calls for very large formats. Meanwhile, in bringing these large fields and formats together, we require photographic lenses of extraordinary performance.

When issues related to lenses, formats and film have been resolved; it still remains to transform images on film into prints that maximize the information content which can be assimilated by a viewer. For this purpose, one cannot resort to contact printing, insofar as the fineness of detail in a contact print far exceeds the acuity of the unaided human eye. In fact, when working with a sharply focused negative, a 1000-megapixel print which is ideally sized for close inspection requires an enlargement ratio of at least 12X. Because the negative is large to start with, this ideal print becomes very large indeed; typically in the 50 square feet regime. Prints of this size can, in principle, be produced either by conventional photographic enlargement or by a combination of digital scanning and printing. However, even the best enlarging lenses cannot provide imagery in the 1000-megapixel range; at least not without loss of contrast relative to the original negative. Hence, in practice, there is little choice but to use high-resolution digital scanning together with some form of digital printing.

During the course of discussion, we follow the Gigapxl™ image-forming process from real-world subject to final print; explaining along the way how, at each step of the process, we strive to minimize the loss of information content. Of importance in this regard is the manner in which the losses associated with various steps are balanced such that no single step dominates the overall loss. Specific topics include the information content of images, the choice of format, the choice of film, the transmission of images through typical atmospheres, the requirements of lenses, the design of a camera which is consistent with the selected lens/format combination, the respo
nse of viewers to high-resolution imagery, and the various means for producing large digital prints.

Continue with Information Content…
http://www.gigapxl.org/technology-content.htm
超高分辨率图片集：
http://www.gigapxl.org/gallery.htm

世界上最高分辨率的显示系统

您想想过，在一个比HDTV的质量还要好100倍的显示屏上看一个人脸会是什么效果吗？圣迭戈的加利福尼亚大学的工程师做成了一条目前世界上最高分辨率的计算机显示系统，其像素数达到了220M像素（2.2亿像素），是全高清电视（1920*1080，207万像素）的100倍还多，55个横向排列和50个纵向排列的全高清液晶面板通过光纤以太网络连接构成了这套交互式超高分辨率的显示系统。

Seitz 6×17 Digital：神级的一亿六千万像素相机

我们第一次看到这台相机时，下巴立刻掉到了地上 – 还弹了两下。不，它不是我们见过像素数最多的相机，但这台是你真的可以买到的，不是远在某某不知名实验室里的超级计划。

当然，像素数（换成熟悉的数字，160mp）不是它唯一疯狂的地方 — 规格到了这个境界任何数字都是疯狂的。首先它的感光器大小有 6×17 公分大、最高分辨率达 7500×21,250px、未压缩的 RAW 档一张就有 950MB 的大小、ISO 值由 500 一直到 10,000、最短快门 1/20,000 秒、还有个「可拆卸」的触控式 VGA 屏幕。近 1G 的档案大小当然不是 8GB SDHC 或甚至 64GB CF 卡所能顶下来的，因此 Seitz 让你透过 Gigabit 以太网络将照片传到他们提供的「尖端科技电脑系统」 – 实际上也就是台 Mac mini。

所以这些疯狂的规格要花多少银子才能入手？较高端的「机动版」要价 45,500 瑞士法郎（30 万人民币），而（相对）简易的「工作室版」则是要价 42,300 瑞士法郎（27.7 万人民币）。这个价格还不包括镜头，但不包括那台 Mac mini 的话也太不公道了。

这台相机不消说当然会出现在 Photokina 上，但要正式上市大概要等到 2007 年初了。

–
未来新技术和新趋势的种种可能：
奇想录 http://www.qixianglu.cn
订 阅 http://feed.feedsky.com/woodphone
非主流的科幻界的非主流论坛–奇想家园：
http://www.douban.com/group/forcode/

Technorati : 新技术, 相机
Del.icio.us : 新技术, 相机
Zooomr : 新技术, 相机
Flickr : 新技术, 相机

你可能对这些文章感兴趣：

• 2008-07-11 -- 看了青蛙吃蚯蚓的照片，才知道傻瓜相机的效果有多么差了（组图） (2)
• 2008-04-17 -- 数码相机与胶卷式相机的带宽与存储问题 (0)

Related posts:

1. 长江电力远期投资价值分析4 2．调节库容增发电量 （1）可调节库容量 2020年上述水能资源完成开发后，将出现大批具有调节库容的水利枢纽，主要包括： （1）金沙江中上游干流及其支流形成调节库容200亿立方米以上，其中雅砻江下游的两河口、錦屏一級、二滩三大水库的总调节库容就达到了158亿立方米，占金沙江流域全部年流径量近40%的整个雅砻江流域将实现全年调节。而虎跳峡（高坝方案）、金安桥、观音岩等多级水电站竣工，使金沙江中上游的总调节库容将达到500亿立方米。 （2）金沙江下游乌东德、白鹤滩、落溪渡和向家坝四大电站形成调节库容204亿立方米。 （3）川江支流的众多水系预计形成调节库容约200亿立方米，其中重庆以上川江段支流约120亿立方米，嘉陵江和三峡库区约80亿立方米。 （4）长江中上游干流5个梯级形成调节库容300亿立方米，其中三峡为165亿立方米，川江干流约为135亿立方米。 以上合计总调节库容为1204亿立方米。到2020年，年径流量和调节库容的对比如表3所示。 表3: 2020年长江中上游年径流量和调节库容...
2. 长江电力远期投资价值分析9 表10: 2020年长电净利润和经营性现金流（8座电站合计） 表11: 2020年长电每股净收益及累计分红（以200亿总股本计） ...
3. 数据显示全球大银行今年已宣布裁员近6万人    北京时间8月8日晚间消息，全球最大型银行正在以自2008年以来最快的速度裁减工作岗位，原因是表现疲弱的美国经济导致银行收入承压、监管机构推动金融公司持有更多资本以及银行正在采取业务重组措施来提高盈利能力。 据全球最大型银行公布的声明和彭博社编纂的数据显示，自今年1月1日以来，汇丰控股(HSBA)、瑞士信贷集团(CSGN)和美国银行(BAC)等50家最大型银行已经公布的裁员总数接近6万人。按这一速度计算，全球最大型银行今年裁员总数将超过10.1万人，创下自2008年裁员19.2万人以来的最高水平，当时大幅裁员的原因是银行正在蒙受贷款损失、面临全球性的信贷危机并接受了史无前例的政府援救。 数据表明，汇丰控股在8月1日宣布，该行将裁减3万名员工，创下自美国银行在2008年12月份称其将裁员最多3.5万人以来的最高数字。 继续处于较低水平的利率、陷入停滞状态的贷款增长速度以及针对借记卡的最新监管规定将在今年抑制美国各大银行的盈利。与此同时，全球监管机构正在推动银行持有更多资本，目的是避免金融危机重新以及缓和欧元区可能主权债务违约所带来的影响。包括高盛集团(GS)在内的全球最大型银行正寻求在某些国家中削减成本，同时在中国、印度和巴西等增长速度较快的经济体中拓展业务。 以下表格列出了今年截至目前为止已经宣布裁员至少500人的银行名单，这些银行包括但不限于全球50家最大型银行。同时，表格还列出了截至2010年12月31日为止这些银行的员工总数；对于那些宣布裁员人数区间的公司，这份表格所显示出的数据为区间上限。许多裁员活动将在几个月或几年时间里完成，一些公司称其同时还在其他领域进行聘用活动。 ...
4. 长江电力远期投资价值分析7 六、长电的资本运作 长电的战略投资也频频出手。2006年，长电以4.6元的价格收购广州控股11.189%股权，投资总金额10.6亿元，目前广州控股股价10元以上，收益巨大；2007年，长电以31亿元收购湖北能源45%股权、以7亿元收购上海电力10%流通股权（约1.56亿股）、以28亿收购安徽能源集团股权并与陕西省国资委签订了能源领域的战略合作协议。中国政府对电价的压制政策虽然对长电的短期赢利不利，但却为长电实施战略收购提供了很好的机会。最近，三峡总公司对其发展战略进行了滚动修订，提出从2008开始实行战略转型，其中收购沿江省份的优势能源资产占据非常重要的位置，希望这一战略能够有效实施。可以预见，随着政府的能源发展理念与措施的转变，长电已经和近期即将实施的收购兼并投资将会带来巨超呼寻常的收益。 长电的财务投资同样锦上添花，参与了中国国航A股发行的战略投资者定向配售（共计认购3,500万A股，认购价格为每股2.8元，总投资金额0.98亿元）；作为战略投资者网下获配中国工商银行A股（共11,217.9万股，配售价格为每股3.12元，总投资金额为3.5亿元）；以原始投资的方式拥有20亿份中国建行的H股股权。 上述权益性投资规模已经近100亿元，2020年长电的累积权益性投资将超过500亿元。以10%的年均投资收益率计算，则可为增加收入50亿元/年。另外，2020年长电的经营性现金流将高达2000亿元以上，运用如此巨大的经营性现金流所做的财务性投资收益至少可以有效平滑枯水年份的发电业绩滑落。 表9: 长电目前的权益与财务性投资 ...
5. 这种塑料浮动码头发明地非常好！ forcode：我是去年在湖南家附近的河边发现使用了这种塑料浮动码头，我觉得这个发明非常的好！首先这个塑料浮动码头每一件的形状、结构都完全一致，所以实际上只需要设计一套模具，就可以不断重复批量生产，然后，每一个单元都有“接口”可以与其他4个单元拼接，这样把码头建设变成了搭积木的过程，你可以搭成一座桥，也可以搭成一座人工岛，还记得国外那个用塑料瓶搭建人工岛、在上面种植物、养猫养鸡鸭的哥们吗？相比之下，那哥们太业余！ “组合式水上浮动平台”（塑料浮动码头）。其材质采用高分子聚乙烯，一次性吹塑成型，无接缝，强度好、抗冲击能力强，具有防紫外线、抗腐蚀，能经受自然环境变化及低温的侵袭，而且符合环保标准，无污染，并可回收再生利用。整体采用模块结构，组装简易、快速，造型多样化，可依需要而变化，组合成任意形状、任意大小的浮动平台。该产品可依工程的实际需求而加以规划、设计和施工，广泛运用于船艇停靠码头、水上浮动平台、浮桥、水上舞台、水上游泳池等不同用途的水上工程建设。 产品详细介绍： 浮筒尺寸mm：（长*宽*高）500*500*400                             1000*500*250                             500*500*345                           500*350*225             ...

以上关联文章由 Yet Another Related Posts Plugin 提供支持。