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Internal 32-bit float stereo paired with lossless 120mm reach from a 20mm lens — all inside a genuinely pocket-sized 10-bit 1-inch sensor gimbal camera? 1 2 3 4
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By eatstoomuchjam · Posted
For me, 6K is ideal - I don't lose detail when reframing and even with some denoising, a lot of the fine detail sticks around. Really, for anything from 4K through 8K, it's fine for me. 4K just means I have to be more careful with my frame and 8K means using a bit more disk space (which I have plenty of for now, hope hard drive prices come down someday, though). But yeah, the frame rates are fantastic. They're one of the big reasons that Camera Conspiracies loves his M1P ILS so much. -
They same guy has reportedly added the ability to monitor the image properly using the FP's LCD screen: "For a long time, getting accurate exposure when shooting RAW on the SIGMA fp has been a little difficult. I've always used EL ZONE to help with exposure, but when I wanted to understand the overall brightness and color distribution of the image, I still found it a bit difficult. So I created **RAW View**, a monitoring mode based on the fp's exposure latitude. Highlights are no longer clipped early by the stock monitoring pipeline, and the histogram and waveform now work properly with the displayed range. I think this could also be useful for still photography. RAW View maps the fp's publicly documented ~12.5 stops of dynamic range into a Rec.709 display range. There are currently two modes: **SA — Latitude · Stop Aligned** Aligns the display according to the latitude and stop distribution at each ISO. **GA — Latitude · Gray Aligned** Keeps middle gray fixed at approximately 41%. You can choose GA or SA depending on your preferred exposure and monitoring workflow. ### CinemaDNG Color Matrix When using **AEL**, adjusting the Saturation setting before recording CinemaDNG can apply SIGMA's original **Standard Color matrix** to the DNG metadata. If you want to keep the usual **OFF CinemaDNG** behavior, simply leave Saturation at its default setting. For those who like experimenting, you're also very welcome to try recording with the matrix enabled and see how it affects your CinemaDNG workflow and color rendering in DaVinci Resolve. I'd be very interested in your results. I think most fp users are already very happy with the image quality. It's the small pain points that can sometimes make the camera frustrating to use — and I'm starting to think that fixing these little things may actually be one of the most useful parts of fpSup. The latest test version is: **fpSup-RAW-View v0.2.2test** The monitoring curves are mainly based on published SIGMA data and Ole Berek's *SIGMA fp Rec709 LUT & Operations Guide v3*. I cannot guarantee that the curves or implementation are completely accurate. If you notice any incorrect exposure behavior, curve issues, or bugs, please let me know. Thank you! You can find the download and detailed installation instructions for this unofficial patch in the replies to this post, along with a more detailed explanation of how it works. ⚠️ **Experimental / Unofficial** fpSup is an unofficial experimental modification and is not affiliated with or supported by SIGMA. This is still a **test** release and may contain bugs, freezes, recording issues, or incorrect monitoring. Please test it with your own camera and workflow before relying on it for important or non-repeatable shoots." Technical Details: https://ijigen.github.io/fpSup/explainers/raw-view.html Download & Instructions: https://ijigen.github.io/fpSup/tools/card-composer/ -
They same guy has reportedly added the ability to monitor the image properly using the FP's LCD screen: "For a long time, getting accurate exposure when shooting RAW on the SIGMA fp has been a little difficult. I've always used EL ZONE to help with exposure, but when I wanted to understand the overall brightness and color distribution of the image, I still found it a bit difficult. So I created **RAW View**, a monitoring mode based on the fp's exposure latitude. Highlights are no longer clipped early by the stock monitoring pipeline, and the histogram and waveform now work properly with the displayed range. I think this could also be useful for still photography. RAW View maps the fp's publicly documented ~12.5 stops of dynamic range into a Rec.709 display range. There are currently two modes: **SA — Latitude · Stop Aligned** Aligns the display according to the latitude and stop distribution at each ISO. **GA — Latitude · Gray Aligned** Keeps middle gray fixed at approximately 41%. You can choose GA or SA depending on your preferred exposure and monitoring workflow. ### CinemaDNG Color Matrix When using **AEL**, adjusting the Saturation setting before recording CinemaDNG can apply SIGMA's original **Standard Color matrix** to the DNG metadata. If you want to keep the usual **OFF CinemaDNG** behavior, simply leave Saturation at its default setting. For those who like experimenting, you're also very welcome to try recording with the matrix enabled and see how it affects your CinemaDNG workflow and color rendering in DaVinci Resolve. I'd be very interested in your results. I think most fp users are already very happy with the image quality. It's the small pain points that can sometimes make the camera frustrating to use — and I'm starting to think that fixing these little things may actually be one of the most useful parts of fpSup. The latest test version is: **fpSup-RAW-View v0.2.2test** The monitoring curves are mainly based on published SIGMA data and Ole Berek's *SIGMA fp Rec709 LUT & Operations Guide v3*. I cannot guarantee that the curves or implementation are completely accurate. If you notice any incorrect exposure behavior, curve issues, or bugs, please let me know. Thank you! You can find the download and detailed installation instructions for this unofficial patch in the replies to this post, along with a more detailed explanation of how it works. ⚠️ **Experimental / Unofficial** fpSup is an unofficial experimental modification and is not affiliated with or supported by SIGMA. This is still a **test** release and may contain bugs, freezes, recording issues, or incorrect monitoring. Please test it with your own camera and workflow before relying on it for important or non-repeatable shoots." Technical Details: https://ijigen.github.io/fpSup/explainers/raw-view.html Download & Instructions: https://ijigen.github.io/fpSup/tools/card-composer/
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Funny you should write this, I just got a A7v last week. My reasons are a bit different, we were awarded a project once again where we shot the bulk last round on Sony cameras, and will be using some of the B-roll for the new shoots. I just wanted all the new parts I'm shooting on Slog 3 cine as well. It feels a lot more refined than the A74 I had a while back! -
By Clark Nikolai · Posted
Of these only the Allied Vision Prosilica GT 3300 has the KAI-08050 sensor that the DB used. The Faux Bolex project was designed using Basler brand machine vision Gig-E cameras and uses Basler libraries but if someone is savvy with programming they should be able to change the code to make it work with other brands. Don't look at line scan cameras, look at area scan cameras. The FB project uses Gig-E for connection, (not USB or CameraLink.) The Basler model with the same exact sensor as the Digital Bolex is avA2300-25gc. The monochrome model would be avA2300-25gm. Other sensors also use the TrueSense colour filter and have global shutters so this might not be the only suitable camera. Basler cameras model numbers are easy to figure out. The av means their Aviator series, the A is area scan, the 2300 is the approximate horizontal pixel size, the 25 is max frame rate, the g means Gig-E connection, the c is colour (and m is monochrome.) If anyone makes one, please share your progress with us here. https://github.com/lafauxbolex
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