Lars Steenhoff

The sole reason I joined Twitter a few days ago has paid off. Mr. Yamaki replied to my question asking if lens aberration correction would apply to cDNG and .Mov:
 

What's the chances of 14bit raw video, is the sensor capable?  stills in 14b have substantially better noise/ dynamic range deep into the dark bits of the sensor over using 12b.
What about full sensor 6k 3:2 video, hardware capable? The 4k downsample currently looks decent but DC mode 4k 1:1 pixel sampling does beat it for absolute resolution and aliasing free imaging. 
1080p in camera is quite bad.
More crop modes using 1:1 sensor pixels would be nice such as super16mm also, or simply being able to enter any custom pixel dimensions/ aspect ratio.
Coming from magic lantern I miss zebras and histograms based on raw data.
The FP base iso is 200 not 100.

Is there not timecode both in the audio and frames. Usually i sync everything via timecode.
Ah, i just looked. There's no timecode in the wav files!!! But there is in the video. Surely that's a bug and that's why resolve can't automagically do anything.
If you click on a wav and put the starting TC based on the DND sequence and then Auto Sync via TC that audio will be part of the sequence and you can drag it down.
cheers
Paul

This was announced a while back and i was understanding it would be released beginning of March at the CP show - but that show was cancelled and for some reason the release pushed back a few weeks. Lets hope it was pushed back to fix a few more things...
cheers
Paul

Pro tip:  set camera sharpness to the max in the camera when shooting raw, to be able to focus better.
I use this for raw stills and for shooting raw video, it really helps to see the focus area.

Pro tip:  set camera sharpness to the max in the camera when shooting raw, to be able to focus better.
I use this for raw stills and for shooting raw video, it really helps to see the focus area.

Pro tip:  set camera sharpness to the max in the camera when shooting raw, to be able to focus better.
I use this for raw stills and for shooting raw video, it really helps to see the focus area.

Pro tip:  set camera sharpness to the max in the camera when shooting raw, to be able to focus better.
I use this for raw stills and for shooting raw video, it really helps to see the focus area.

I wonder if it's a case where people aren't so keen on Sigma's new entry into the cinema camera market since people associate them with slow but gorgeous "weird" cameras? Almost like if BMW were to suddenly decide to make a cell phone

Every modern camera seems to be a great sensor in a box with the differentiation being software at this point, save for the obvious technical advantages of the higher-end cameras. If Sigma can make the fp platform stable, reliable, and consistent, I don't see why they couldn't continue the line well into the future. 

Pro tip:  set camera sharpness to the max in the camera when shooting raw, to be able to focus better.
I use this for raw stills and for shooting raw video, it really helps to see the focus area.

Still beyond me why Fuji dropped their best LCD hinge implementation - the XT100. That one and the S1R are the best LCD hinges, pleased everyone - flip and flippy at the same time.

Yes I will find some and upload soon for you to take a look at
The RAWs are a lot more... erm... 'raw'
Noisier and without the advanced corrections, oversampling and multi-frame exposure
Still great for colour post processing and being able to grade a DNG right there in the phone (Snapseed does it amongst others) is cool
Next step up in sensor tech and IQ from P30 Pro

https://www.filmaker.cn/thread-113294-1-1.html?fbclid=IwAR09XfPp7o4Fygmqqp5ba5TPBoSmkg6JFnYkTkObvb5scDXHaHYSEXcxb8U
teardown of the fp. 
And the screen can flip. 😁

He's made it himself as a Photoshop comp of the FP and the SD-Q

I'm disregarding the exposure preview.
I'm trying to set my settings manually based on the exposure meter and histogram. I'm shooting only with auto ISO and still getting blown out highlights because the camera is countering my conservative shutter and aperture settings by changing the ISO to make the scene too bright. Of course being raw I can adjust the exposure in Capture One.
But, it really is a basic for any cheap camera, let alone a supposedly sophisticated £1900 body. Return the shot with the same exposure the user set.

They need to fix that exposure bug, urgently.

Some of the Magic Lantern Raw apps that process MLV files will also process cdng files to ProRes and they have a lot of features to repair issues with the raw files. I don't really need any of those features so I don't know if any of them will help this issue but they might. I know auto detect black levels is one of the things I tick off when I use Raw Magic... but I don't think that program processes cdng.

Please send your findings to sigma so they can make a firmware update with fixes

A monitor causes extra moire effects because of the pixel grid

Do you agree that the fp was not in focus? (like camera 9)?
If we make the assumption that the fp is using the IMX410 sensor, as is the A7III, Nikon and perhaps the Panasonic then we can see that there is no way that sensor can deliver more than 12 bits in motion. Although there is a crop mode at 14 bits. If you look at the specs for all these other cameras then you can see that 12 bits in motion is pretty much a universal given - Canon say the same for their sensors too.
So the container from the sensor to the camera is a fixed 12 bit bucket.
If we also assume that all sensors are linear (physics and hardware wise this is the case) so the native signal off the sensor is going to be linear for all of these.
Now: either the sensor response in some cases is non-linear (it's possible but i don't think it is the case) or each of these companies is doing something to get these claimed stops beyond 12. In the case of this Sony sensor, is it logarithmically compressing 14 bits down to 12? I think not, there may be a bit of non linearity in the results (there are) but i think that's a function of the sensor itself. In my testing the difference between stills and cine shows that. But i think that goes for any of these sensors.
The latest BMD don't output DNGs anymore? But the old ones compressed 12 bit linear into a 10 bit container with a 1D LUT lookup table (great approach) but the source was no more than 12 bit)
What other cameras currently output DNG? Because it is very easy to look inside those at the RAW data.
And IMHO some of these companies are using techniques like highlight reconstruction to deliver > 12 stops. If you understand that each of the RGB filters has a different sensitivity then you can see how you can take advantage of that and extend the overall range beyond that 12 bit fixed linear container.
With the fp, and being RAW, it is up to you to do that reconstruction work. With other systems that are outputting their own RAW then that work can happen automagically internally. It is true that the reconstruction work is as simple as checking a box in resolve, or as complicated as doing the math yourself. Applications like Lightroom do it whether you want it to or not - it's fundamentally part of the lightroom debayer for stills as well. So the irony is a lot of skies done through lightroom are reconstructed highlights... (ever noticed that the blues can be somewhat off?)
The only time this doesn't count is when you have a cinema camera style sensor which is designed for greater bandwidth inside the sensor itself, 14, 16+ bits are common.
So IMHO i think the fp has a similar range as the other (prosumer) cameras but the data you get off the sensor is 'RAWer' and it's up to you to make the best of it.
This is my assumption. I have no insight into what the manufacturers are doing. I know i sound like a fanboy, i'm not really, my fp is a stop gap until Komodo ships. But i do think it's a wonderful little camera! I like what sigma are doing and they don't have any cinema camera lines to protect. I think they're really well positioned to do something quite special in this market segment and i'd hate for anyone thinking about getting an fp to not do it because of these kinds of conversations!
cheers
Paul
 
 
 

I watched the download.
12bit off a 14bit sensor creates problems with dynamic range if the sensor values are stored as linear values. Blackmagic, as far as I know, encodes 12bit raw values with a logarithmic function and thus preserves more dynamic range.
The Sigma fp's sensor should, by itself, have no worse dynamic range than the sensors of most other tested cameras...

Okay, i downloaded the 'source' file and looked through it.
IMHO the sigma stuff is a touch out of focus. If you compare to the under test you'll see the chart is sharper there. The normal studio test feels the focus is forward (his watch is in better focus)
Even at f2.8 on full frame the DOF is pretty shallow.
If you're not running the camera out to an external monitor critical focus is difficult.
Number 9 is well out of focus as well on the chart and the suggestion is that's 8K red. 
Im not saying for a moment that the fp is in the same league as the others (my red is 10 times the cost) or that the scaling couldn't be better. But it isn't that bad. I've shot full frame UHD and can be obsessive about things and i have no issue with the footage in real life. Yes, the scaling could be better and hopefully it will be. But if you want pixel for pixel sharpness then use DC mode. You have the choice.
I'd rather people petition sigma to push this forward - more crop choices, better scaling and so on. The sensor is there, the camera is capable but i feel sigma need to know this is what we want...
Cheers
Paul