Lars Steenhoff

No I did not have any problems with dynamic range
And make sure you set the bit depth to 14 for stills and 12 for cinema if you want to get the max out the camera.
This is a frame from a 12 bit cdng graded in photoshop. its shot trough a window and with a 30 year old lens.
 

No I did not have any problems with dynamic range
And make sure you set the bit depth to 14 for stills and 12 for cinema if you want to get the max out the camera.
This is a frame from a 12 bit cdng graded in photoshop. its shot trough a window and with a 30 year old lens.
 

Gorgeous shot that is mate. Lovely silky tones. What lens was it with?

The workflow with raw is very easy for me, I have realtime playback in resolve at 4k and even adding effects like filmconvert still play in realtime. ( I do have a radeon 7 that helps )
If you add a small hd oled, you also get your headphone output back
and the flipping screen
and the peaking and zebras at the same time
and lut support
Its what makes the camera complete for me.
Now I'm waiting for in camera playback and I'm all set

http://www.xdcam-user.com/2017/08/the-pros-and-cons-of-12-bit-linear-raw-or-recording-raw-to-s-log/
https://www.magiclantern.fm/forum/index.php?topic=13825.msg133487#msg133487
https://fstoppers.com/photoshop/what-bit-depth-and-does-it-even-matter-423879#comment-542753

For me, the shutter delay currently is a deal breaker for using the camera for serious, daily photography.
You can easily test it: Turn 'Shutter Blackout' off in the camera menu (section 'Shoot', 5th tab), shoot a digital stopwatch like this one, and you will see that the actually recorded picture has been taken 0.1 seconds later than the picture/frame shown (and briefly frozen) in the camera display after pressing the shutter button.
It literally means that you can't take snapshots of moving subjects with the camera, at least not in a predictable way. Unreliable focus and inconsistent metering make this a camera with an unusually high amount of pictures you have to throw away in post because of missed moments, missed focus and wrong exposure. 
I have to second DPreview's opinion that the fp is one of the worst cameras released in 2019, from a stills photography perspective. It's most likely the worst full-frame photography camera currently on the market, maybe even the worst full frame digital photography camera ever released.
In fact, a $250 EOS-M100 (with its similar-sized body and a pancake lens like the Canon 22mm/f2) beats it as a stills camera, except for the sensor size. Since I had both cameras, I know what I'm talking about... [and would already regret having given the EOS-M100 to my girlfriend after I bought the Sigma - if it hadn't been for my girlfriend...]

Both Resolve and Premiere have problems with 8-bit DNG. I believe Resolve 14 broke support for both compressed and uncompressed 8-bit. Then at some later point uncompressed 8-bit was working again, but compressed 8-bit was still sketchy. This wasn't much of an issue since no major camera was recording 8-bit anyway, but now with the Sigma fp out, it is worked around in the upcoming release of slimRAW.

Btw, I got a slim SSD enclosure along with a Sabrent 1TB NVMe SSD and it works great, just need to figure out how to attach it to the bottom now.

The 2tb can hold 1 hour and 45 minutes as the total record time in 12 bit raw.

If you haven't seen this one, it's worth your time. Really. 
 

You can try renaming the folder and dig files to the structure of the following screenshot. 
This is the resolve naming convention.

You can try renaming the folder and dig files to the structure of the following screenshot. 
This is the resolve naming convention.

I've done a bunch more digging. I think you're right however i have errors in highlights now with 12 and 10 bit - compared to 14 bit stills and also magenta single pixels. However i am trying to work out whether this is data or resolve. I have a feeling it might be resolve.
I am perhaps going to revise my comments about 14 vs 12 vs 10 bit. Some initial tests suggested to me that the difference was lopping off 2 bits and a couple of stops between 14 and 12. But after some more testing now i simple cannot tell the difference between full range 12 bit and full range 14 bit. My exposure is +1 on sky and shadow. And both 12 and 14 bit (and 10) pull back full detail in clouds despite all showing as fully clipped. As a control i compare to Lightroom and what i've realised is that in lightroom where there is no highlight option actually it is taking full advantage of that ALL the time seamlessly. Resolve and Lightroom match.
This is suggesting to me that perhaps the lopping off of 2 bits is in the shadows. Yet between 14 and 12 i cannot break. Whereas 10 is clearly lacking detail.
I have no method here at the moment to test dynamic range (aka i can't find my wedge chart)
So not 100% sure at the moment and more tests to be done.
But 12 bit is very robust - or 14 bit stills are hampered somehow.
cheers
Paul

Sigma can’t go wrong as long as they thoughtful consider user feedback.
The NVMe suggestion should be taken seriously. It makes perfect sense for the form factor and the cDNG uncompressed format they are offering.
It’s clear they want RAW in this camera and they can only do uncompressed at the moment. Which means high bitrates and large files sizes. NVMe sticks tick all those boxes plus form factor and price per GB.
I can see why Panasonic went with dual SD card slots on the S1H. Why didn’t sigma just go with XQD or Express and offer 12bit uncompressed internal?

You can also do that by choosing 172.8 degree shutter with 24p/23.98p.

Noam Kroll did a review, and some test footage...
https://noamkroll.com/full-sigma-fp-review-4k-raw-video-samples/
 

Because it causes aliasing and loss of resolution, basically you are alternating lines, one high iso, the next low iso.
And when you combine them you have less resolution as if you would have shot at one iso only.
----------------------------------------------------------------------------------------------------------------------------------------------------------------
Here a worst case sigma Fp test, lit with some little energy saving light that outputs horrible color.
Iso 6400, 8 bit cdng.
manual focus85 mm lens handheld 
https://www.dropbox.com/sh/biq7g9afi999lmi/AABRYDSG9spbYp0WJ5l5g-SAa?dl=0
 

Because it causes aliasing and loss of resolution, basically you are alternating lines, one high iso, the next low iso.
And when you combine them you have less resolution as if you would have shot at one iso only.
----------------------------------------------------------------------------------------------------------------------------------------------------------------
Here a worst case sigma Fp test, lit with some little energy saving light that outputs horrible color.
Iso 6400, 8 bit cdng.
manual focus85 mm lens handheld 
https://www.dropbox.com/sh/biq7g9afi999lmi/AABRYDSG9spbYp0WJ5l5g-SAa?dl=0
 

Magic Lantern shoots native 14 bit DNG image sequences and puts each sequence into a .MLV container. If you mount the container as a drive, you literally copy/paste DNG frames out of the container--you don't actually have to convert anything. For 12 and 10 bit, Magic Lantern truncates the words which is why there is a DR penalty. (Or at least that was the case last time I used it, which was a few years ago).
I can dig up some of my old footage if you can't find any samples online.

As an aside, i did a quick bit of comparison with an SSD plugged in now. I think it was pretty expected:
12 bit DNGs, the best quality both in Shadows and Highlights - the shadows are also not biased green
10 bit DNGs, these are identical to 8 bit in the shadows, band for band. However the highlights roll off with more data in so they match the 12 bit and work with highlight reconstruction better
8 bit same shadow performance as the 10 bit and the highlights reach the same overall range but the values in the highlights are less tonal and this yields magenta tints. So highlight reconstruction not so quite as good as the others.
In all cases i found it near impossible to 'break' the midtones
I wonder whether that linearisation curve in the 8 bit is a little off with respect to each of the channels, with green tint in shadows and magenta in highlights or (more likely) that's a result of just not enough discreet steps.

cheers
Paul

I tried the Lexar 1667x, but as expected it was too slow (was thinking that 250MB/s was write speed, not read). Thinking the 2000x would work, but haven’t seen it bigger than 128gb.
They’re all sooo expensive.

I got some progrades off amazon the 128gb version and has worked no problem. Was a bit more cost effective than the others. I think they benchmarked higher than others and are rated 300MB/s (which is above 25p at 8 bit)
cheers
Paul

I have it and its much faster than the old version in resolve, I have realtime playback and the old version I did not.

You can try this app
https://mlv.app
You still need to convert first the dng to mlv
https://www.magiclantern.fm/forum/index.php?topic=24631.0
It allows you to choose different debayering methods.
 

Figured it out with the help of the camera manual. The menu entries for the zebras are only for configuring their parameters, not for activating them. For the latter, one needs to define a custom shoot mode and then customize the display settings for that shoot mode (including activation of zebras).
Zebras and focus peaking don't work together. And in Cine mode + Manual mode, lens aperture cannot be controlled via the camera's wheels, but only via menus, which is a huge downer for lenses without aperture rings (such as adapted ef mount lenses).
Many configuration items - such as audio level adjustment - are buried in submenus.
In still mode and M setting (with Auto-ISO), exposure compensation is only available via menus, not via dials - another huge letdown. The camera tends to overexpose in automatic metering and has no highlight priority metering option. 
This is definitely not a straightforward camera in handling and everyday use.