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Key specs via PP: https://www.dpreview.com/reviews/sigma-fp2-everything-is-better-for-the-second-gen-modular-mirrorless-camera/ 24MP partially stacked CMOS sensor Up to 20fps stills Video up to 6K open gate, including ProRes RAW output to SSD Two USB-C sockets Full-sized HDMI port Tilt up/down 3.2″ 2.1M dot rear LCD Optional 5.76M dot electronic viewfinder Optional OM System/Panasonic compatible hotshoe 70GB internal memory Larger, 16Wh battery, giving 370 shots/charge rating 460g (16.2oz) including battery and card The Sigma fp2 will be available from November 11th at a price of $2199, body only, or $2749 with the new EVF-21 accessory or $2749 with the I-series 50mm F2 DG lens.

Sigma FP ii... So far it's not even up on Sigmas website, so no idea about codecs, but it does look like it does a 10-bit LOG internally, so at least one of the "gaps" in the OG seems to have been addressed. It's probably not the camera for me, but definitely respect to Sigma for trying something with the FP and continuing support for the concept.

I'm not complaining mind you, just some observations. This is a sandisk extreme plus however its only 16 gb which probably gives something of its age away... I'll continue to use it in another camera and it does what i need it to do and i see no reason to throw it away until it breaks. I did get another recommended sandisk extreme v30 a2 256 gb from a retail shop and they sell gopros as well. I have one in each of the mission 1 and the ils camera now so no need to swap anymore. I have the smc 17mm attached to the ils at the moment via the metabones non speedbooster adapter. It has the usb port so the next thing on the agenda is to try a modern lens and see if the aperture controls works via the adapter. I have mostly vintage lenses, think Asahi, a couple of Canons same with the Nikons and Tokinas. I think i have two modern lenses that may work, however i need to perform a search...

So, I haven't had any issues with SanDisk Extreme V30 A2 cards. In fact, it's the one they recommend and sell with the ILS. I have noticed that I need to erase the card anytime I want to upgrade the Labs firmware with Mac OS, due to the DSstore hidden files.

I think it looks like a good deal to me. The articulated screen is a big plus over the original cameras. L-LOG too (interesting that they took Leica's rather than make their own Sigma LOG or use Panasonic's). ProRes RAW is to SSD. Internal 8bit Cinema DNG seems to have gone away. All cameras need an HDMI port - far better it be full sized than micro. Autofocus is a big improvement too, as is the open gate sensor, much less rolling shutter, higher resolution recording, bigger battery (the original used the same battery as the GH2!!) I'd rather have one of these over the Z6 III, it only lacks IBIS and internal raw. But as any GH2 owner will tell you... You don't really need either 🙂

Somebody needs to tell Sigma that if you are FORCED to add components to the camera to make it usable, then it is no longer the "smallest full frame camera." Now if the 2.5K ProRes Raw can be recorded internally, that will be a little interesting, but not for the same price as the ZR. And definitely not without IBIS.

I want to love sigma but there's always a deal breaker. That huge evf on the side is a no-go for me. If they make a compact evf so that the thing can actually fit in a small travel bag, I'd get one. it has everything else I would want, on paper anyway. Once you add the evf, the size isn't an advantage anymore, and total price is nearly identical to the S1ii, so unless you really need a few hundred grams shaved off, it's hard to pick sigma.

From what people have been saying, it's a DGO Sensor rather than a Dual ISO. Someone did a test on the S1II and found that to be the case too. Funnily enough, Sigma themselves state L-Log as a codec - it's in the menu. Very weird.

Official listing on their website: https://www.sigmaphoto.com/fp2

Sigma FP II has officially been announced.

There are so many trade-offs here it's impossible to actually discuss all of them in any sensible way, that's why I suggest simply trying them yourself, as the proof is in the pudding. The recommendation of 1/200s is 4 times shorter than 1/50, so the recommendation for 13mm and 11mm lenses are vastly different despite the focal lengths being quite similar. I understand this is a generic recommendation, but that only works for generic people, and I have never met any of those before! I'm assuming your statement about the ILS producing more detail in RAW is about still images? That's a whole other thing than video and these tradeoffs all go completely different since the modern standard for getting sharp images seems to require a shutter of 1/5000 or faster, if I go by the fact that people are photographing action sports and seem to want sub-pixel sharpness instead of their images representing the fact that there is any motion involved at all in the scene. Anyway, I'll leave you to your assessments, but I can tell you that if you shoot video on a potato and upload it to YT at 480p with a 180 shutter and compare that to video shot on the BM 17K URSA with a 45 shutter and uploaded at 8K, there will be people who prefer the 180 shutter just because the motion is so important to them. This is perhaps a drastic example, but a more practical one would be why anyone at all still shoots on 16mm. It is completely technically inferior in literally every regard, and yet, people still pay a huge amount of money for the pleasure.

Interesting. I'd imagine that a shoulder mounted rig would be quite stable in most circumstances, especially from the micro-jitters of smaller camera rigs. I've also found that shutter angle is a bit of a strange thing, where in some scenarios you want a larger angle and other scenarios it doesn't matter that much. Often this was related to how large the motion was in frame and how visible it was (e.g. if it was a hard high-contrast edge or softer). The output quality matters too - when I was testing my GF3, which does (IIRC) 1080p at 12Mbps (or similar) the shutter angle on many shots didn't really matter because the motion on a 180 shutter was comparable to the resolving power of the final image (it looks like quite compressed 720p footage) so for lots of stuff it didn't matter at all!

I guess it's a tradeoff: The more your hands shake during filming the blurrier each frame will be (motion blur) and the more stabilisation that happens after that the more that there will be motion blur in the footage without the associated camera shake and it will just look like random blurring (like the lens AF was pulsing, etc) The longer the shutter the more motion blur there will be in each frame The higher the resolution of the final result the more visible the intermittent blurring will be (ie, it will be more visible if you sharpen the footage on a 4K timeline and it will be less visible if you apply lots of image softening and grain) The higher your standards the more sensitive you will be to random blurring and to shorter shutter speeds For some people they're super sensitive to shutter angle, so are very intolerant to that. If they are also sensitive to blur and are going to sharpen the footage and publish in 4K then they will have to hold the camera a lot steadier to meet their requirements. For people that don't care about shutter angle then just have super-short shutters and you'll have great results. For people that want longer shutters but are going to soften the image a lot in post, or will be using much softer lenses, then they can afford to have shakier shooting because the random blurring will be far less visible. For people that don't care about the motion in the image then they can be happy despite the fact that other people would be very unhappy. In this sense it's impossible to know how you'll find something by just listening to other people. Tonnes of people think that some of the modern Sony and Zeiss lenses are "soft" and I think they're completely insane, but that's just different taste. In this case you probably have no idea how shaky your hands are compared to the next person, and there are no metrics that we can use to compare. From my experience of OIS and how I shoot, I'd get FAR FAR sharper images from the GX800 than the ILS, because the amount of camera shake I would have is easily enough to make the frames blurry but less than most OIS lenses can compensate for. In this sense it's not about the camera specs, it's about OIS vs not.

The tests I showed had blur with a shoulder mounted camera at 180º shutter angle. I tried a few shorter angles and determined that 90º was okay. Shorter shutter angles had too crisp motion.

I'm sure IBIS will do better. However, when I look at the footage up to 50mm, it looks decent if you have the right SS. You have to remember I'm replacing a GX800 (2017 tech). The ILS isn't really in the same league in terms of capabilities (especially audio and slow motion). Both cameras are better when using a tripod of any kind. The GX800 didn't have any IS other than optical in the lens and the video (even 4k) was more susceptible to moiré and aliasing. The ILS is effectively lighter with way better IS than the GX800- that's why I'd get it. I do like the Flip-up screen on the GX800, something I wish the S9 would have. Here are some thoughts from someone who actually purchased the camera like me:

It's stabilisation after the exposure is made, so it will be subject to the same blurring as in the video I posted above. Depending on how much stabilisation is required and what your shutter angle is, it might be visible or might not. I'd highly encourage you do some testing to work out if it will meet your quality requirements.

I tested it out a few times. It does a good job. I used an app in an iPhone (attached with a phone holder to the camera rig) to record the gyro info. It added an extra step when shooting and there was some extra work and time to process the footage though. For my current project I determined that my shoulder rig was good enough as it is. But I do think it's a cool technology. Easier to use than a gimbal. If I was to get in to it more I would buy a Niyien Senseflow. You only need to sync with the camera once a day then you let it run. Here's a thread.

@steadygannet63 yea, when I close my eyes I actually see the timeline and the blocks moving. I’m being serious. I would have lots of YouTube videos published if I wasn’t so numb from editing.

Great looking images but the EIS isn't a substitute for IBIS or OIS - you can see in this footage the image gets blurry at random times... I think this mostly kills this camera for me at least. If you're hand-holding then either you use short-shutters, or you use 180 shutter but need to stabilise BEFORE the exposure, rather than stabilising AFTER when the frames are already blurry.

It's there, but not very distinct. Here's a screen grab.

Why can't I see the tower anywhere in that fist frame?

I prefer dogs and land mines.

You don't like security cameras? No need to be insecure...

Yeah we've taken a lot of time to create a film look that gave good color, but also just kind of works. When using footage in a doc from a lot of different cameras, archive stuff etc. a lot of film looks can break easily. We also wanted something that while invoking film, was also not too strong. Below are some side by sides, the images on the left are the look we developed, and the versions on the right are a standard CST:

Well nothing was announced this week but it’s looking most likely like a Sigma FP2. Meanwhile LUMIX is supposed to be revealing at least 2 new bodies in November to mark their 25th birthday or something… Please let this not be some letdown like a security camera or some other crap but something ‘we’ might be interested in… Too soon for a GH8 so maybe some small compact L10-like MILC? Maybe the long overdue S1H2, or some ‘cine’ version of the S1ii?

That unfinished half sounds useful too, especially the bigger MFT glass comparison. Editing your own stuff after doing it all day is a special kind of nope 😁

Apparently the Metabones SB accepts USB power in, it can be powered by the camera itself, and it can power a lens and has a wheel that can change the aperture of the lens.. and because it has power that means lens OIS will work too! @newfoundmass this isn't a MFT solution but it does allow some electronic lenses to be used - not sure if you have a metabones and other lenses lying around perhaps?

Hi, I'm the author of the "Sanity" patch for the GH2. I just uploaded the last version to my Google drive, if anybody is interested in using it. https://drive.google.com/drive/folders/157bZ_DRA0FzA-7QUWG3lXwQmfoTEtXQl?usp=sharing Here's a little background on why I developed it. When Vitaliy unlocked the GH2, there was a gold rush to create patches with very high bitrates. While the image quality looked great, those patches were terribly inefficient. I took it upon myself to create a patch that had the same top image quality, but at more "sane" bitrates. I can say with confidence that I succeeded, because I pixel peeped and compared the image frame by frame to the uncompressed output from the HDMI port. This way I had an absolute reference to shoot for. That was a long time ago, and I have long since sold my GH2. If anybody actually uses "Sanity", I would love to hear about it, just for old time sake!

I have the Sanity hacks (not 100% sure), Apocalypse Now (Drewnet), Cluster X (Drewnet), and Cluster X (Moon). I wish I took better notes. Why are personal view forums down? That's a good site.

I'll have a dig and host them here if I find the mother lode

Here in EU, LPE19 is 169€ and 2xLPE6NH is 190€. R3 comes with a dual charger and I'd rather charge 2 batteries than 4. R3 is lighter than R5C + grip, has IBIS.. and overall more solid/pro feel. Here's a video from a dude that switched from R5C to R3 and I'm inclined to agree with most of his points although in the end its kind of a toss up: