目前全世界所有的专业人士好像没有一个将 5D MarkII拿来和 25万美元的CineAlta F35进行对比的（这个说出来让人笑掉大牙）。

好像只用LZ一个人异想天开的拿它们之间来YY！

顺便说一句，5D MarkII采集的信号是：AVCHD的民用规格，也就是说它是4:2:0的！这个东西不要说真正的电影，广播电视领域也很难接受了（广播级最低限度也要YUV 4:2:2）！本来就是为民用而生的东西。

最重要的5d2是2000美元的价格你、我、他都有尝试的机会，有拥有的机会。

25万美金的电影摄像机我们就只能在这里YY一下。

5D2传感器尺寸大，只能肯定一点，它有更浅的景深效果。

但至于画面锐度、色彩深度与平衡感、及画面细节方面肯定是不能和真正的数字电影机相比的了！

其一：5D2不管是不是全幅，它依然是单片式CMOS成像。使用的依然是传统的拜尔滤光片只能输出一种色彩信息，其它两种色彩信息要靠空间色彩插值的估算法来运算获得。（这个是不能避免最终输出的信号出现色彩串扰的，在表现色彩空间信息时，很难准确表现同类不同颜色深度图像的信息。而且必然会出现低通效应。动态画面会很缺乏锐度）。

其二：5D2的记录码流最高只能到 38Mbps。而 F23／F35；Genesis都能输出 3Gbps的原始 RGB的对数动态信号。在信号等级上，它们完全是一个天、一个地！ 38Mbps的信号，如果直接拿来在小屏幕的电视上放是可以接受的。但只要有稍微的后期处理，出来的东西一到大点尺寸的家用投影仪的环境都很难完全过关。更不要说去适应25--50尺的影院大银幕了！

DCI制定的数字电影标准虽然没有完全定案。但至少在放映端的规格已经确立。就是放映端的两种放映分辨率是：2048 x 1080 和 4096 x 2160。对信号提供要求是必须使用 JPEG2000的压缩方式。最低放映信号的码流不能低于：100Mbps。

5D MarkII 和 D90的 38Mbps 和 16Mbps的信号不要说去适应数字电影的母版了。即便是最终发行放映的拷贝片的 100Mbps以上的码流信号都还差得远！

这是原文的英文对三机最终的总结：（太长，懒得翻。英文好的自己看）

Three three-letter cameras: EX1, F23, RED
An unfair comparison of three entirely different cameras

Random Observations
These aren’t full reviews, just some stuff we noted. There’s no attempt to be fair and balanced; we were under the gun to get some tests done with mostly unfamiliar gear. Take these comments as stream-of-consciousness observations, not as considered statements.

Also, I focus excessively on the RED. We have three RED reservations in the pipeline (#s 2323-2325), so I’m predisposed to focus on it as we have to decide whether we’re actually going to buy the darned things when our numbers come up.

F23 & 28mm DigiPrime
What a monster! It’s a big, heavy beast with the SRW-1 drive mounted in the rear position. It took extra care to flip the thing in my lap to attach the tripod plate (which looked laughably inadequate to secure the mass of the camera) as I was literally afraid of crushing the viewfinder. Most of the time I had Tim help me maneuver and carry it (not a bad idea when you have nearly a quarter-million dollars of borrowed camera in your hot, sweaty hands), and we always had the both of us on it when we were mounting or unmounting it or moving the tripod.

The removable assistant panel made it easy to squat by the capture station and monitor the image as I changed camera settings. Both the panel and the left-side display and buttons were laid out the same way, and were clearly designed for trouble-free operations: for example, the SET button doesn’t enable doing anything unless you hold it down for a second, preventing inadvertent activation. The fit and finish of these controls, and of the camera as a whole, are such that I’d guess the assistant panel alone costs as much as the EX1.

The EVF is an LCD with a removable magnifying hood, so it can be used as either a traditional eye-level finder or as an orientable flip-out LCD. It seemed awfully flimsy compared with the rest of the camera, but it performed well. I especially appreciated the rotary peaking control, just as on older CRT finders; I could dial in exactly the amount of EVF detail needed to focus a shot. The camera has two viewfinder connectors allowing both the operator and an assistant to have dedicated monitors.

The DigiPrimes are gorgeous lenses, well marked and smooth of action. I didn’t see any breathing as I focused, and the image is as rectilinear and undistorted as they come. And the image it makes on the F23 is literally breathtaking. There is no detectable chromatic aberration, no flare to speak of, and the F23’s picture with it is so clear and limpid that it’s like looking directly at the scene with the naked eye. On the CDM chart, the F23 / 28mm sees the fine texture of the printing inks that neither the EX1 nor the RED could reproduce. The 28mm is well capable of resolving detail strongly out to the limits of what the camera and chart will show, and probably beyond. Apparently, you do get what you pay for!

RED & SuperSpeeds
The RED is a compact little football (rugby ball for non-US readers) of a camera, dominated up front by its massive PL mount and in the rear by its bright white LCD status display. The camera’s body is a rough casting, painted with black textured paint; round black plastic buttons operate most functions with two bright red start/stop buttons (one on the back, one on the left side) providing a touch of color. The coarseness of the finish is offset by the high precision look and feel of the satin-silver Lemo connectors used for most accessories.

The camera has no built-in viewfinder, shoulder mount, support rods, pistol grip, or carrying handle; all these are add-ons using cheese plates, adapters, and jointed arms for attachment—in this way you build the camera up for your particular needs. Videofax doesn’t yet have the RED EVF (they’re in short supply) but did have the RED LCD, which we used on a RED arm. A carry handle was attached, but we didn’t bother to fit support rods, matte boxes, or the like, we just screwed the tripod plate right into the camera.

Some of the connector choices are odd: video and genlock use miniature connectors normally seen inside equipment; they’re fragile things in my experience, not well suited for the rough-and-tumble world outside a camera. Videofax’s camera has an adapter from Element Technica that converts the RED’s funky connectors to industry-standard BNCs—but you’d still need audio transition cables for RED’s oddball miniature XLRs.

Element Technica’s adapter panel

The locking collar for the PL mount felt rough in its action; apparently a few REDs of this vintage slipped out of Orange Country with unlubricated mounts, and I suspect this may be one of them.

The camera takes about 90 seconds to boot up. Don’t be in a rush, eh?

A flimsy joystick with a fragile feel is used to navigate the camera’s menus, which are displayed very differently on the rear LCD and on the monitoring output—it seems the UI designer for one didn’t consult with the UI designer for the other. Neither design makes good use of the screen real estate available; I assume after some time the menu structures would become memorized, but the lack of visible hierarchy (the menus show only one level of detail at a time) and inconsistent interaction “language” made for a fair bit of frustration (I spent a couple of minutes fruitlessly trying to display a center marker before discovering that a visually unrelated “Enable” box needed to be checked).

Menus are traversed laterally by pushing the joystick side-to-side, and you move up a level by pushing it up, but moving down a level (shown on the screen as an animated down arrow) requires pushing the joystick in, not down (in fairness, this RED’s joystick had already fallen off three times in its short life, and its re-attachment may have prevented it from being pushed down).

Here’s hoping the RED folks revisit the menu design, or that every operator or assistant has plenty of prep time to learn its quirks.

For all that I dislike about the menus, I have nothing but praise for the monitoring display.

You can turn on a variety of frame markers and action-safe areas; critical data like frame rate, shutter speed, color temperature, clip name, and timecode are always shown, surrounding (not overlaying) the active picture. The RED’s sensor overscans: even at full 4k recording you have a visible border around the active (recorded) image, just as on a film camera, so you can see when booms and mics and other out-of-frame elements are about to intrude on your shot.

You can show a histogram below the picture and/or zebras on the picture, or turn on a false-color mode which shows exposure level with color—those of you familiar with the AccuScene viewfinder will feel right at home, since RED bought AccuScene, and this is the very same false-color display.

Beyond that, there’s a little “traffic light” below the picture, with red, green and blue “bulbs” that light up whenever 2% or more of the associated channel’s photosites are saturating. This simple set of idiot lights is the best overexposure warning I’ve ever seen; there’s no searching for zebras in the picture or pondering just how much of the histogram is pressing up against the right edge of the scale. Quick and to the point, it frees me up to watch composition and motion, and still see when I’ve got a problem—at which point I can look at my zebras, histogram, or false-color display. Anything that makes an operator’s life easier is a good thing, and this is one of ‘em.

The SuperSpeeds are good-looking lenses, but they don’t seem to be up to the level of the 28mm DigiPrime. The 50mm, at least, seems a bit soft at the widest apertures, if fully crisp by T4, and there’s a bit of chromatic aberration noticeable on the 4k frame grabs, though it’s minimal. There’s also a bit of barrel distortion. I mention all this not because the SuperSpeeds were bad, but to emphasize again how astonishingly good the 28mm DigiPrime was. (It’s amazing how quickly one gets spoiled when one has a chance to work with top-quality glass!)

PMW-EX1
I’ve already discussed the PMW-EX1 in some detail, so I won’t reprise it here.

But after dealing with “real cameras” like the RED and the F23, with massive bodies, solid metal construction, and robust lens mounts, the EX1 felt, well, a little bit precious and delicate. All the controls felt unnaturally small and fiddly. This isn’t an EX1 problem, it’s just the nature of small handheld cams compared with their bigger, heavier brethren.

Big cameras and small cameras are simply built to different scales: this sounds obvious, but every time I run “real cameras” alongside small video cameras I’m struck by the difference.

兴冲冲的近来，一桶凉水出去。

    按LZ的说法，各家电视台、电影制片厂明年都得买5D2拍片了，要不都不好意思说自己是摄像的。

凭功能和性能.

在一定的适用范围内5d2能取代电视摄像机和电影摄像机。

无忌就是好，什么人的胡说八道都能容忍。

你的语气很干脆

相信你干脆的有底气

能不能说说你实际比较拥有4520 x 2048的像点分辨率的Red-One,和1920 x 1080输出的 Genesis的体会呢?

多讲讲你用Red-One拍片遇到了哪些困扰?

又用Genesis拍片得到了哪些便利?

楼主还是赶紧去回复这个吧：
https://forum.xitek.com/showthread.php?threadid=564954
买什么都有风险，捂着最好……

lz的图片很好玩，电影还是4:3比例的呢

痴人说梦

无忌就是好，什么人都能胡说八道。凭5d2能取代电视摄像机和电影摄像机。

真还有脑残把 5D MarkII这种东西推到：Genesis、F35/F23、D21/20的高度！我真TMD的服了！你要推 Red-One还着点边际！！！

完全是误导！

电影看中“分辨率”！简直扯蛋！！！

Red-One是因为其它方面都不行，所以在宣传手法上才盯着其拥有4520 x 2048的像点分辨率说事！

真正的数字电影摄影机是从来不在这上面做文章的。电影摄影机是从成像到存储的一个完整的工作流程。电影拍摄的习惯已经形成了100多年。有些流程的东西是很难改变的。

像Genesis、F35、F23、D20/21为何以数字的技术，完全去模拟胶片电影机的工作模式。这个就是一个习惯。要让摄影师觉得，只是记录技术上变了。而在操控和习惯画面上依然还是传统的电影机。

过去的原因主要还是效果差了些.