Comprehensive Sigma Fp first impressions and interview – Cinema DNG RAW internal recording!

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There were two highlights of IBC 2019 for me. The Sigma Fp, and the Z-CAM range. From the ground-up the Sigma Fp seems to be aimed at us, at artists. A small and incredibly light camera that hits the big full frame notes, some of the niche features like the digital director’s viewfinder are unheard of in consumer full frame cameras from major manufacturers.

This is clever and will get the camera a lot of use by top-flight talent. Most exciting for me is the focus on the video recording features – which are big step for Sigma and indeed push the boundaries of what we expect from a “prosumer” camera.

  • Cinema DNG RAW 4K 12bit to USB C SSD media
  • Internal 1080p 12bit internal RAW Cinema DNG uncompressed
  • Internal 4K RAW uncompressed (bit-depth drops to 8bit at the moment)

Read moreComprehensive Sigma Fp first impressions and interview – Cinema DNG RAW internal recording!

IBC Show – Panasonic 8K Organic Sensor Prototype Camera with On-chip ND and 16 stop dynamic range

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At IBC the Organic Sensor technology Panasonic is developing turned up in the camera above (with a rather nice choice of Cooke cinema lens). Along with the prototype camera, Panasonic had a wealth of information about what makes it such a big step for filmmaking and video.

Read moreIBC Show – Panasonic 8K Organic Sensor Prototype Camera with On-chip ND and 16 stop dynamic range

Shooting Formula 1 at the Italian Grand Prix with the legendary Canon 200mm F1.8 and Blackmagic Pocket 6K

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I bought the Pocket Cinema Camera 6K recently and decided to take it on a shoot at Monza, to film last weekend’s Formula One race and famous old banking (where sequences for 1966’s John Frankenheimer film Grand Prix were shot). I also had a few stills cameras with me including the Canon EOS RP, and considerably more capable Fuji X-T30 and Samsung’s famous last camera, the NX1, the only good one they ever made. These are super-fast small bodies for travelling light and the NX1 in particular with it’s stunning 4K quality turned out to be perfect for sports photography with the 15fps continuous shooting rate.

Read moreShooting Formula 1 at the Italian Grand Prix with the legendary Canon 200mm F1.8 and Blackmagic Pocket 6K

Fujifilm hint at 44×33 large format “GFX-H100” filmmaker’s camera / open gate 4K3K

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With Canon debuting the C500 II today, demand for a full frame in a C-series body is clearly there but Fujifilm is looking further into to the future. Their X-Trans IV sensor technology has already debuted in the GFX 100 and X-T3 but I can reveal a leaked slide-show shows Fujifilm might be taking the technology much further than we believed…

A large format 44×33 camera optimised for open gate 4K3K RGB (perfect for an anamorphic mode).

Read moreFujifilm hint at 44×33 large format “GFX-H100” filmmaker’s camera / open gate 4K3K

NOPE! Canon did NOT remove 24p from the 90D and EOS M6 II to save H.264 licensing fees

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A particularly strange virus has spread across the internet, which seems to infect people defending Canon’s latest cameras, shorn of the cinema frame rate 24p.

Read moreNOPE! Canon did NOT remove 24p from the 90D and EOS M6 II to save H.264 licensing fees

Martin Scorsese and Christopher Nolan campaign launches “Filmmaker’s Mode” TV settings on upcoming LG and Panasonic sets

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The electronics manufacturers have always had a strange relationship with 24p.

It’s tempting to look at classic cinema as a quaint, anticipated thing of the past. It’s an under-fire aesthetic like never before.

YouTubers seem happy with 30p or 60p and TVs do their best to smooth over the cinema look by default.

Well, not any more – according to the Hollywood Reporter, Filmmaker Mode is debuting on upcoming TVs by virtue of the UHD Alliance and some of cinema’s best known directors.

Read moreMartin Scorsese and Christopher Nolan campaign launches “Filmmaker’s Mode” TV settings on upcoming LG and Panasonic sets

Canon EOS M6 Mark II 4K is “pixel binned 3K” and Sony A6600 old sensor debacle “due to internal politics”

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If the Sony A6600 is a flagship camera, I’m a little pixie elf.

It’s a flag at half mast kind of camera, in mourning of a once innovative camera division. 2016’s technology with a bigger battery.

Interestingly a source who has been right many times before about Sony tells us that the Sony Professional Video division wanted to reserve the more capable IMX571 26 megapixel sensor for future professional camcorders.

Meanwhile the same sensor is yours for just £750 in the Fuji X-T30, with minimal rolling shutter, 6K full pixel readout, no crop in 30p, double the bitrate in 24p (200Mbit) and Fuji’s colour science along with F-LOG.

Remind me again why I should buy the A6600?

Read moreCanon EOS M6 Mark II 4K is “pixel binned 3K” and Sony A6600 old sensor debacle “due to internal politics”