我只看到F23的噪点.

我没拿RED钱,我也犯不上替他吹.呵呵.
这种东西只需要看结果,主观感受.其实结果明摆着.也许你喜欢技术,但和艺术是两回事.你要非说好,就好吧.

而且单片传感器通过色彩空间插值来获得另外两种色彩的方法明显在色阶过渡上与三片传感器存在本质的差距。

请注意下图中，黑圈圈出的部分。调色板上的色彩还原， RED-One的单片 CMOS明显还原不出更深的色彩阶调。

明明趋向偏蓝的色条， RED-One还原后变成粉紫色。从粉红、到偏紫、到偏蓝的色条的色阶过渡， F23的三片CCD还原出的层次非常明显。而Red-One还原的色彩层次过渡就极其模糊！

F23的色深度与颗粒感非常像彩色胶片。

上面的是1Ds MKII的成像。下面是胶片单反的成像。相互比对，我们看看看Red-One 和 F23的情况！

这个和 RED-One 与 F23对比很类似。 RED-One的细节和色彩深度上不如F23。仅凭尺寸较大的感光元件在浅景深上更好（但如果换成和RED-One 相同传感器尺寸的F35的话，那RED-One这唯一的优势也将丧失了）。所以专业就是专业，Red-One的出现的确是有一些冲击。但和真正那些成熟大厂开发的系统相比，差距是显而易见的！

你还是仔细看看最终对比的总结吧！

对比后，作者认为，F23 + 蔡司的28mm DigiPrime镜头，所表现出的画面品质的确物有所值（对得起这套组合：1/4百万美元的价格）。

当初，布莱恩.辛格在使用Panavision的 Genesis拍摄《超人前传》的时候就说过，Genesis是目前为止，其伽玛特性与色彩风格上模仿胶片最惟妙惟肖的数字电影摄影机。

而实际上，F23就是传感器缩小版的：Genesis（所以在 BIRTV 2007上，凡是参观的业内人士，均称 F23为“小Genesis”）。 而 F35则是改良版的Genesis！

感官上呢?你觉得sony好?真好?如果你坚持........呵呵.

对比最终的终结：

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.

3CCD有它固有的优势，在影像的细节与锐利度上依然是单片传感器所不能比拟的！！！

单片传感器要模拟出真正的三片传感器的效果一种是 x3那种类型的CMOS。还有就是使用在SONY 的 F35 和潘纳 Genesis上的那块每 6个RGB RGB像点构成一个完整的 RGB像素阵列的特殊像素构造。也就是输出的信号本身就是原始的 RGB色彩信息，而不用像一般的单片式 CCD那样的拜尔滤光片成像方式，每个像素的一片滤光片只能显示一种色彩，其它两种色彩要靠估算与插值来实现。这样的图像会因为串扰和低通效应直接影响色彩的饱和度和影像的锐利度。

来美那边搞了一个 RED-One、PMW-EX1、CineAlta F23的三机对比测试！RED-One + 记录系统后，售价大约在：$25,000美元； PMW-EX1在北美实际售价大约：$6,500美元；而 CineAlta F23 +记录系统SRW-1后，售价：$200,000美元。

结果对比后， RED-One只是靠大尺寸的CMOS传感器在景深效果上有优势。在色彩和画面细节度方面均输给了真正的数字电影摄影机：CineAlta F23！看来一分价钱一分货这还是没错！

三片大尺寸传感器的产品，在当年的HDVS的模拟高清时代，SONY就开发过。当年全球第一部演播室 EFP高清模拟摄像机：HDC-500 使用的就是：三片每片1英寸200万像素的FIT-CCD（比现在的主流2/3英寸都要大，其感光性能和性噪比比现在的2/3英寸都要强）！！！

但价格嘛......仅仅机身造价就高达：$268,000美元（比 $250,000美金的 F35还要昂贵）。更不要说 3片 Super-35mm的CCD的数字电影摄影机了！三片产品是不使用滤光片的。要使用分光棱镜，如果每片CCD都达到 Super-35mm的尺寸的话，那与分光棱镜组成的成像单元尺寸就太巨大了。那样的话，摄像机的机身会极其庞大与沉重。成本之昂贵是难以想象的！

http://www.broadcaststore.com/store/model_detail.cfm?id=16388

支持RED ONE这个搅局的泥鳅

Canon我觉得也不可能破坏游戏规则！因为摄像机产品线是 Canon公司除相机之外的第二大产品群！

http://www.usa.canon.com/consumer/controller?act=ConsumerHomePageAct

Canon官网上其产品列表中，排第一位的是：Cameras（相机）；排第二位的是：Camcorders （摄像机）。这两类产品是Canon影像产品线中最重要的。它不会傻到用自己的相机破坏自己的摄像机市场。这样岂不是得不偿失！

至于SONY 和 Panasonic这种摄像机领域的老大、老二，它们更不会！但 SONY狡猾着呢，以摄像机的设计思路，引入大尺寸传感器，超级强化摄像机的拍照功能，这个对SONY来说到是轻而易举。只是想做不想做的问题！

Nikon是最没有可能的，它的传感几乎是 100%依靠SONY。一但少了SONY的支持，在世界上它再很难找到一个具有如此成熟和如此规模化的量产工工艺的厂商给予支持。

厂家之间最忌讳犯界（尤其是日本厂商之间）。大家之间的领地泾渭分明。Nikon要破坏游戏规则，那SONY马上卡断它的生命线！到时候别说是摄像机，它要想有足够的CMOS、CCD来供给自己的相机产品线都不可能咯！！！

Nikon才没那么傻得罪自己的衣食父母：SONY！

照着这个思路做摄影机，对于相机厂有难度嘛？基本没有。只有愿意和不愿意。谁最不愿意？——SONY。

尼康其实最应该做，因为没摄像机的产品线。平台也不成问题。其他厂家还都是在观望,我觉得包括佳能.

RED公司总裁说因为市场的变化（Nikon D90和Canon 5D Mk II？）他们要改变整个Scarlet设计，细节没有透露。

搅局还是有效果。

关注。

不好买
关键是等的时间太长

关注～

是Letus35 Extreme的转接器，可以上135相机实现35MM Fullframe的景深效果，目前有CanonEF.CanonFD,Nikon,Pentax,Minolta,M43,PL等接口，摄像机有72，77，82的接口，还有EX1和HVX200的。  Leica滴还没出！

elgato没玩过，realtime的？  你们传输用什么格式，MP4编码的H264?  compressor免费的嘛，除了慢，其他我都很满意！

现在RED ONE 好买吗？

RED还真没出过3CCD或者3CMOS的机器 不过不仅RED 市面上所有的35mm画幅的数码摄像机都是单片CCD/cmos的 包括RED ONE, sony/panavision Genesis, sony F35, arri D20(D21) 可能现在单片大尺寸的摄像机CCD的成本都很贵吧 而至少目前来说 由于尺寸大 画质已经相当好

未来就难讲了 毕竟电影是个不计成本的东西 3片35mm画幅的CCD系统搞不好也会出现

至于scarlet这个2/3的机器， 我也很可惜他不是3片ccd的 不过这个价位 能指望到哪里去呢  毕竟最便宜的2/3高清机器松下的HPX500也要近1万美元（不含镜头）

所以我个人估计scarlet的表现可能未必会高到哪里 特别是暗光下

要说玩 还是red one爽 epic那估计就更爽了

另外补充一点，偶上面做的那个测试的机器是基于同样的1/3的感光元件。我也明白Scarlet 3K上的CMOS要比这两款机器大。而且对于RED来说，DV显然不是同一级别的东东。

偶只是想了解一下RED到底有没有出3CCD或3CMOS的机器，同时也想了解一下，如果是在RED的这种相对高端的器材上，使用单片感光元件和试用3片式感光元件的效果区别。

问题多多，劳烦指教。不胜感激！！！

李先蓝大侠，我想请问一下RED公司出品的电影机，有没有3CCD（或3CMOS）的？

Scarlet 3K固然性价比不错，但考虑到它所使用的是单片的感光元件，总担心在色彩上不如3片式感光元件的机器。

偶曾经对比试用过两款DV机器，一个是3CCD（Sony-FX1），一个是单片CMOS的机器（Sony-A1C），在同一场景用同样的灯光，拍摄同样的物品来测试。感觉3CCD的会好很多（也可能是CCD和CMOS成像效果差异所致）

恳请指教，谢谢哈~

jixia

：-0 今天太忙，没顾上。在玩slingbox，据说有hd的了；打算把tandberg的asi解码器和slingbox一块儿用，自己没事时玩的一个小项目。：-0
。
是不是把leica镜头罩拆了结了转接电影镜头，和Ultra灯？
那底盘很熟悉，我们前年下岗了一批摄像师，现在演播室座机都是robotic的了。就是用的介个底盘，好像是telemetrics作的？
有没有玩过elgato，压缩很好，以前用fcp里的compressor，慢不说，file size还大。ftp回台里很慢。有了elgato真方便。而且现在到外地也不用定转发器或光缆时间段，找个网吧就传回来了。

就等你从米国带个小小红来了～

后期我到不是问题，最近待业在，玩小红还是奢侈哈～

公家买单就是爽，等试用报告哈～

另，你是不是有个HVX200,没玩玩这个？

自雇用啊。太理想了，俺也想。但现在还没介个条件。
今天俺背对着门在电脑上转帐买相机`。突然一个盒子从俺身后伸了出来，一看，fcp server。 ：-0 盒子后边是老板。呵呵。俺明天好好钻研一下。

那个外接LCD肯定不包括 还有那些架子 不过相比后期来说 估计Scarlet省下的钱还是很有限的

有米的还是建议上RED ONE 一步到位 哪怕只用他的2K分辨率

景深  景深才是最好玩的阿

全套配下来估计还是得要4万来块