Before becoming a second-tier player in the digital revolution, Eastman Kodak actually did some of the most groundbreaking
work in the transition from film to electronic media. I talked in a previous entry about the 1994-era NC-2000. As the decade came to a close, though, Kodak held a lot of important cards in image sensor development, including a radical notion that moiré, the mixing of two or more signals in the image to form an interference pattern, could be corrected without the use of the ubiquitous anti-aliasing filter present on every other image sensor then and now. The idea was that if that filter, which blurs the image slightly to suppress the heterodyne that created the interference pattern, was gone, maximum sharpness could be captured from the sensor.
In 2001, Kodak released an exceptional iteration of this product, the twin-killing combo of the DCS-720x and the DCS-760. The 720x was optimized for high-ISO use, like nighttime sports, and the 760 was optimized for studio and event photography. Originally, these cameras fetched $5000 and $8000 respectively, but I got them after they were discontinued for a tiny fraction of these prices.
Based on the Nikon F5 film camera body, these cameras are huge and heavy, so their popularity waned quickly, but if you are willing to tote them around, the image quality is nothing short of spectacular.