Daniel,

Clearly, we'd like zero aliasing and a brick-wall filter with 100% resolution. One could always introduce some out of band stuff by sharpening, if they wanted to go past the limit.

But this is moot. If we want big sensor 1080p for less than $17.5k (RED ONE), we get aliasing. The question isn't whether we want it, or how much we want, but can we tolerate it.

I think the answer is "yes" for most applications short of a big screen feature. If you think about it, this takes care of itself: if you have a project that requires a gourmet look, you probably have a budget that can handle a broadcast cam, RED ONE, or film. If you have a DvSLR budget, you probably don't have to satisfy gourmet-hungry clients.

There are two trends approaching: putting DvSLR guts in a video cam, and improving DvSLR guts in terms of aliasing, jello and bit depth. Frankly, I could care less about the first scenario. I've adapted. But I'd love to have RED ONE-plus quality at a DvSLR price. I give it three years...

Agreed. For me it's a choice between big sensor and aliasing (5D2) or little sensor and no aliasing (3-chip). I can't wait for the future when I wont have to make that choice as often.

Just get one of each! Cover your bases.

You still need to decide which to shoot with - unless you bungee-wrap them together and shoot in stereo. ;)

Absolutely, and I'm not arguing that we all should be filming this way - just that for a lot of content intended for a general (i.e. non-filmmaker or film enthusiast) audience it's not necessarily a big limitation if that's what your camera produces.

It's certainly better to have the option of creating that look in post to the degree you want it, but right now that's not really the choice we have at the price point of these cameras. You choose between absolute resolution, minimal aliasing, better color depth and ergonomics, or shallow DOF, lens flexibility, low light performance and compact size. I wish we didn't have to make this choice, but at the same time I'm glad we do have the choice - which we didn't even have a couple years ago. And I'm pretty sure that in a few more years we'll get it all (or almost all) in a single camera.

I tend to look at the 5D as similar to the vx1000 - it was far from a perfect camera, but it represented a significant turning point in the quality and capabilities that were available - and that videographers expected - at that price point. And even with it's limitations a lot of people did a lot of good work with the vx1000.