Lars Steenhoff

Some sigma fp 4k Vimeo footage I found
 

I really rate the Sigma colour profiles. They have carried over some Foveon skills into this image processor.
The standard profile looks very natural, and the main thing Vivid does is give you a warmer look, a more Canon-like look - rather than just increasing the saturation of standard.
Uniquely you can dial up and down a profile overall from -5 to +5, blending with standard at -5 and increasing the difference at +5
The teal & orange "Hollywood" profile is not overdone and nicer than the cinema profile. The cinema profile suits very specific shots. The T&O looks good on almost everything. Beautiful.
Although there is not yet a LOG profile, the Sigma Fp product manager is from Samsung - I don't expect their run of firmware updates to hold back on new features!! NX1 owners will know what I am talking about!
The nod to Magic Lantern with 8bit Cinema DNG is as much a statement of intent, as it is a beautiful image.
I am in love with this camera.

Some sigma fp 4k Vimeo footage I found
 

This might be my next camera. Would of course be amazing if they can get a compressed RAW in there to save on file sizes. 4:1 would be awesome and 8:1 even better. 

Downscales as well.
https://www.slimraw.com
So 7:1 compressed Cinema DNG at, say, 3.5k is just a transcode away with the Sigma Fp.
Going to give it a go.
Perhaps I can give you some Cinema DNG frames out of my camera.
Here is a 12bit 1080/60p frame off the SD card, and same shot but 8bit 1080/60p to give you an idea of how that holds up.
Also included a 4K 8bit shot.
I recommend opening in Photoshop, push it around a lot. You will see the difference especially in the shadows.
I think this camera is also unique in that it is doing 120fps 1080p in ALL-I. Usually Long-GOP compression is used for high frame rates.
By the way the MOV 4K quality is VERY good indeed. They did not compromise on the codec. It's like a pocket S1. Don't think it is doing 10bit MOV H.264 but it looks damn good.
PS
CDNG 12bit 1080p at 24p = 633Mbit/s
CDNG 8bit 1080p at 24p = 422Mbit/s
Still quite large. Get the big SDs ready.
4K_8bit_A001_037_20191028_000005.DNG 2K_12bit_A001_035_20191028_000005.DNG 2K_8bit_A001_036_20191028_000005.DNG

Af can be improved with firmware, Not that I care so much, manual focus gives me more control

I hope they can make 10 bit to internal sd work with a firmware upgrade. Like they originally planned to have.

Pretty sure it's not debayered.
Its most likely downsampled per channel

Slimraw works amazing for lossless dng compression with D16. 

Yeah, sure does.... It has the look of RAW. It grades like RAW. It quacks like RAW. It is RAW!
No need to shoot LOG or have a View Assist is a bonus, although I would like to see those in later firmware update
Something else that would be nice is full frame 2.8K RAW 10bit or 12bit internal with 3:1 compression.
Bring the file sizes down some more.

Nice. I find that the 12bit is quite a big step up from the internal 8bit if you raise the shadows. More dynamic range.
But for the uncompressed 4:4:4 look, with no big exposure changes in post (got it right in cam and lit it right), the internal 4K 8bit looks amazing and as good as 12bit.

I would offer that for matching shots (the majority of most grading work), adjusting white balance in sensor space (or even XYZ as a fallback) and exposure in linear makes a huge difference to how well shots match and flow. I see many other colourists claim they can do just as good white balancing with the normal primaries controls, but i think if they actually spent considerable time with both approaches instead of just one they would develop a sensitivity to it that would make them rethink just how 'good' the results with primaries are. Its one area i think photographers experienced with dialing in white balance in RAW files develop that sensitivity and eye to how it looks when white balance is transformed more accurately - more so than those in the motion image world who still aren't used to it.

I've been a fan of Ian Vertovec from Light Iron for quite a few years, and I was not surprised to learn recently that he likes to do basic adjustments in linear because there was something in his work that stood out to me (including his eye/talent/skill/experience of course).

I can't speak for Sigma with certainty, but the matrices used in DNGs are generally calculated based on spectral sensitivity measurements - rawtoaces is just providing a tool to calculate the matrices from the spectral response data (the Ceres solver they use is just one method to do a regression fit) and then convert the file in the same way as with an IDT. They may prefer to keep the calculated matrices in float without rounding, but you don't need that many decimal points of precision to reduce any error delta down to "insignificant" so in this case rounding is of no real concern here. Rawtoaces doing the calculation also removes any preference the manufacturer may have about regression fit techniques, weighting certain colours for higher accuracy over others and the training data used (like skin patches etc), how to deal with chromatic adaptation, etc. This is really the only area a manufacturer can impart their 'taste' into their "colour science" (apart from maybe picking primaries which is irrelevant in an ACES workflow unless you want to start from a particular manufacturers gamut for grading). Noise and other attributes are IMHO not "colour science", but calibration and other image processing decisions. The ideal goal for ACES is to remove the manufacturers preferences of colour science which leaves the rest down to metamerism of the sensor and it's overall dynamic range which are the elements that survive ACES trying to make all sensors look as similar as possible once transformed into the same space. Its also why it can't fully be successful at its goal but to be fair they do allow the preferences in colour science to remain somewhat intact since manufacturers can provide their own IDTs. But they would prefer all IDTs be created the same way as it would get them closer to their goal.

The Academy document they link describes the basic principles of calculating matrices from spectral sensitivity data but also offers an alternative in the appendix based on capturing known targets (colour charts) under various colour temperatures/source illuminants. I also mentioned both of these on the previous page here. So an actual IDT generated from spectral response data just contains a matrix to convert from sensor RGB/space to ACES, and a way to transform to linear if needed (it can be an equation or a LUT).

Take a look at an IDT from Sony for Slog3 and SGamut3 - it just has the 3x3 matrix and a log to linear equation: 
https://github.com/ampas/aces-dev/blob/master/transforms/ctl/idt/vendorSupplied/sony/IDT.Sony.SLog3_SGamut3.ctl

Or look at an Arri one for LogC - 3x3 matrix (at the bottom of the long file) and log to linear LUT:
https://raw.githubusercontent.com/ampas/aces-dev/master/transforms/ctl/idt/vendorSupplied/arri/alexa/v3/EI800/IDT.ARRI.Alexa-v3-logC-EI800.ctl

Also notice with Arri, not only is there a folder for each ISO, but multiple IDTs for the raw files for each colour temperature (CCT = correlated colour temperature) going back to what I described earlier about needing different transforms per colour temperature (DNG processing pipelines handle this automatically if the author uses two matrices in combination with AsShotNeutral tags) - and Arri also has different matrices for when you use their internal NDs as they deemed it necessary to compensate the colour shift introduced by their NDs:
https://github.com/ampas/aces-dev/tree/master/transforms/ctl/idt/vendorSupplied/arri/alexa/v3/EI800

If you're really curious, Arri even provides the python script they use to calculate the IDTs (it uses pre-calculated matrices for each CCT likely generated from the spectral response data).
https://github.com/ampas/aces-dev/blob/master/transforms/ctl/idt/vendorSupplied/arri/alexa/v3_IDT_maker.py

So a DNG actually already contains the ingredients needed for an IDT - a way to convert to linear (if not already in linear) and the matrix (or matrices) required to transform from sensor space to ACES - most likely calculated from spectral sensitivity/response data (in the DNG case you get to ACES primaries via a standard transform from XYZ). If you have a DNG, you don't need an IDT. The information is there. Hope that clears up what I was trying to say some more.

You can download two cdng stills from cinema 5d , one 8 bit and one 12 bit.
I played with them opening the dng directly in photoshop raw and it looks amazing.
You can sharpen all you like or turn it to 0, you can change exposure and white balance, and even the adobe profiles look great for getting a quick grade
 the dynamic range is great !
And the best thing for me,  no compression, so really nice filmic grain structure.

yep, and it even seems to have ok-ish rolling shutter @ 20ms. Maybe i will get one and pair it with a bolex 1.5x or Kowa C35. Now we just need a l-mount to EF/Nikon adapter with integrated VariND, and this little cam will pack a hell of a punch.
The only thing i am worried about is the flickering issues, and wondering if the sensor is fully read out, or is line skipping/skipping around the sensor.
About the 300mbyte/sec CDng RAW: i plan to run it through Slimraw, at 1:3 to 1:7 compression. This gives me 5dmk3 RAW filesizes, at 4K! If RED won't allow compression incam, i will compress it out of cam :3
Edit: did i mention the losslessly or lossy CDng opens fine in Resolve?

Yes, i delved a little deeper and the 8bit DNGs have a linearisation table attached to them.  I've been opening these up in RAW Digger which gets me the values before any debayering of colour work. I need to see if i can get the table out but it's a good sign.
Having said that by the time the image is debayered into a working colourspace that 8 bit source of thee RGGB channels is tonally more spread meaning that effectively the end result will have more tonality than 8 bit implies, say compared to an 8 bit movie. I hope that makes sense?
Paul
 
 

Also samsung t5  ssd 2 terabyte is only 299 usd.
And after you get home with the footage you can use slimraw to compress the dngs.
https://www.slimraw.com/
You can use the ssd directly as the source and compress while you copy to another drive.
 
 

Full frame 4K raw for $1800 in small stills camera.
Unique. What other cameras do that?!
It's like an official Magic Lantern with bullet proof reliability.
Very happy about the price, it's Sigma being typically competitive there.

http://www2nd.sigma-photo.co.jp/downloads/manual/fp_Manual_en.pdf
The Manual

http://www2nd.sigma-photo.co.jp/downloads/manual/fp_Manual_en.pdf
The Manual

http://www2nd.sigma-photo.co.jp/downloads/manual/fp_Manual_en.pdf
The Manual

Great combo
s1h with isocrama anamorpic

Compressed 10 bit RAW would be much more enticing than uncompressed 8 bit CDNG IMHO

Yep great to meet you Crazy coincidence of me checking out the Panasonic 8K and you being there with an Iscorama!!

https://www.kinotehnik.com/lcdvfbm5/