Noli

Means I can also leave my diffusion filters at home 😄
I don't think its that bad actually.

Means I can also leave my diffusion filters at home 😄
I don't think its that bad actually.

I ordered the EVF thanks to this great thread. Shipping took around 3 weeks to Germany and I had to pay 20€ extra. 215€ total. Thats not even half the price of the Sigma FP EVF.
Unfortunately it does not work 100% with the Sigma FP. The camera screen flickers when I plug the EVF in and once in a while a frame appears on the EVF. After switching the settings of the HDMI Output in the menu a couple of times it eventually always works. Sometimes it takes 1 minute, sometimes 10 seconds, but after I switch off the camera it's always the same issue again.
At first I thought it wouldn't work at all and that the HDMI power of the FP was not strong enough but once the EVF works it does so without a problem until I power off the camera. For focus the image is nice and mirroring the camera display works great, with peaking, false colour, magnification, etc. The blacks are crushed (and have a green tint), so for exposure it is not as useful.
If it wouldn't be for that annoying connectivity issue this thing would be perfect. Paired with the 28-200 this finally makes my stripped down "Bolex FP" complete. Being able to adjust the EVF freely and keep the camera close to my chest is really comfortable and the Lens Stabilisation makes the FP viable for handheld while still being compact and light.
Think I'll be using this for slow paced personal projects or when I am filming constantly and dont turn off the camera a lot. The form factor and not having to think about extra batteries is great. For photography in sunlight I'll still have to use my diy loupe for the backscreen because waiting up to a minute for the EVF to finally work is just to cumbersome.
@Clark Nikolai Do you know if the buttons on the back have any functionality apart from the one that changes brightness?
 

I am using a loupe on the FP. It works well and is very light. I also thought about modifying one of those foldable coffee cups to have one thats not as bulky. 😄
I tried the EVF on the FP again but put it through a HDMI splitter with a separate power supply. Works without a problem... Guess if I'll want to use this reliably on the FP I need to get a HDMI cables with USB power.

I ordered the EVF thanks to this great thread. Shipping took around 3 weeks to Germany and I had to pay 20€ extra. 215€ total. Thats not even half the price of the Sigma FP EVF.
Unfortunately it does not work 100% with the Sigma FP. The camera screen flickers when I plug the EVF in and once in a while a frame appears on the EVF. After switching the settings of the HDMI Output in the menu a couple of times it eventually always works. Sometimes it takes 1 minute, sometimes 10 seconds, but after I switch off the camera it's always the same issue again.
At first I thought it wouldn't work at all and that the HDMI power of the FP was not strong enough but once the EVF works it does so without a problem until I power off the camera. For focus the image is nice and mirroring the camera display works great, with peaking, false colour, magnification, etc. The blacks are crushed (and have a green tint), so for exposure it is not as useful.
If it wouldn't be for that annoying connectivity issue this thing would be perfect. Paired with the 28-200 this finally makes my stripped down "Bolex FP" complete. Being able to adjust the EVF freely and keep the camera close to my chest is really comfortable and the Lens Stabilisation makes the FP viable for handheld while still being compact and light.
Think I'll be using this for slow paced personal projects or when I am filming constantly and dont turn off the camera a lot. The form factor and not having to think about extra batteries is great. For photography in sunlight I'll still have to use my diy loupe for the backscreen because waiting up to a minute for the EVF to finally work is just to cumbersome.
@Clark Nikolai Do you know if the buttons on the back have any functionality apart from the one that changes brightness?
 

I ordered the EVF thanks to this great thread. Shipping took around 3 weeks to Germany and I had to pay 20€ extra. 215€ total. Thats not even half the price of the Sigma FP EVF.
Unfortunately it does not work 100% with the Sigma FP. The camera screen flickers when I plug the EVF in and once in a while a frame appears on the EVF. After switching the settings of the HDMI Output in the menu a couple of times it eventually always works. Sometimes it takes 1 minute, sometimes 10 seconds, but after I switch off the camera it's always the same issue again.
At first I thought it wouldn't work at all and that the HDMI power of the FP was not strong enough but once the EVF works it does so without a problem until I power off the camera. For focus the image is nice and mirroring the camera display works great, with peaking, false colour, magnification, etc. The blacks are crushed (and have a green tint), so for exposure it is not as useful.
If it wouldn't be for that annoying connectivity issue this thing would be perfect. Paired with the 28-200 this finally makes my stripped down "Bolex FP" complete. Being able to adjust the EVF freely and keep the camera close to my chest is really comfortable and the Lens Stabilisation makes the FP viable for handheld while still being compact and light.
Think I'll be using this for slow paced personal projects or when I am filming constantly and dont turn off the camera a lot. The form factor and not having to think about extra batteries is great. For photography in sunlight I'll still have to use my diy loupe for the backscreen because waiting up to a minute for the EVF to finally work is just to cumbersome.
@Clark Nikolai Do you know if the buttons on the back have any functionality apart from the one that changes brightness?
 

Recently saw a second hand Sony ZV-E1 on a local online market place. Price was good and I bought it. Great video camera but lacks EVF. Same is true for it's pro oriented brother FX3.
Typically those type of cameras are used with external monitor on professional shoots or with camera LCD display only when vlogging. If you like EVFs and want to add one,  choice is not great. No external add-on EVF from Sony like the one Sigma FP has. Portkeys LEYE III modified with better loupe is the cheapest one at 450-500 E/$ but I wouldn't call it small. Then Kinefinity EVF for 1250 E/$. Great one but definitely not affordable. There is an obvious gap and need for a relatively small, high quality, affordable external EVFs for cinema / hybrid cameras.
I was looking for quite some time on AliExpress for Mini OLED displays (0.39'' to 0.7'') as a building blocks for DIY External EVF. Usually they come with controller board with HDMI input too. Almost bought some components preparing to do some 3D design and printing around them. Surprisingly found an EVF ready to be used. This type of EVFs were designed to be used with industrial instruments and were on AliExpress for quite some time. They all had lower resolution and AV video inputs in the past. For the first time saw one with 1920x1080 resolution on a 0.7'' mini OLED display and HDMI input. Also for the first time this type of EVFs is targeted toward cameras. Price was good too at 230E/$ so I decided to give it a try.
Received the EVF few days ago and am happy to report that it is better than expected. Here is the list of things that I like and few that I don't like:
What I Like:
High resolution 1920x1080 ( equivalent to 6 220 800 dot camera EVF).  Cameras EVFs have 4:3 ratio to cover 3:2 frame + some black strips on top and bottom to display information like exposure and other camera settings. The sensor on this one has 16:9 aspect ratio. To get 3:2 ratio the EVF crops the image to 1620x1080. Still great resolution at the level of ~5 mln dots EVFs like the one in Panasonic S1 series. I see in the EVF exactly what I see on the LCD screen of Sony ZV-E1 minus peaking. This is a rather good thing. Solid, all metal outer shell, good, even great quality of craftsmanship. Eye cup is big, made from rubber and fits around the eye much better than traditional camera EVFs. Big and bright screen - has at least 10 levels of brightness that can be changed and controlled manually. Picture inside looks big and bright, quite easy to see. Smooth focusing / diopter correction ring. HDMI cable is integrated, ready to be plugged into a camera. HDMI cable looks to have good quality. No need of additional power or battery. It gets small amount of power (500mA) from HDMI. This is a huge plus for me. Has mounting thread, can easily be mounted on rigs or cages or even on camera hot shoe. Can be tilted  and placed in any position you want. Another huge plus. I've simply put it on monitor holder for hot shoe, which is mounted on the camera cage. EVF sits higher and is slightly tilted. It also provides 3rd point of contact and add stability. I am able to hold the camera lower and closer to the chest, which makes it more stable when shooting.  Optimal size for me ! Not too small and not too big. Relatively light. Another huge plus. Optics made of glass, look high quality. Great price for what it offers - 200 Euro ($) including shipping and taxes after some Aliexpress discount. Because EVF receives its power from HDMI you don't have to switch it on separately. It has its own ON/OFF switch but if you stop the camera, EVF stops too as it doesn't receive power from HDMI. This is very convenient because it semi integrates with the camera, you don't have to switch it on/off separately.
What could be better:
While loupe (optics) craftsmanship is high quality, optical schema is probably not the best. Seeing tower end of the frame and in the corners is kind of difficult. In photo mode EVF has to show picture with 3:2 ratio. It crops the display at 1620x1080 to achieve this ratio. Same is true for video. This is great because this way corners of the OLED display are always cropped and dark while picture in the EVF is still high quality and resolution is still great too. So you always look at a picture which is in focus from end to end and you can see the whole of it. Brightness control  has many steps but goes only in one direction. Adjusting it when you want to make picture darker or go at the opposite direction is difficult. You have to cycle trough all settings value until arriving before the setting you were a moment ago. Brightness control button is too small and uncomfortable to use. Both are not huge issues because eye cup completely isolates your eye and cuts external light at almost 100%. Once you set the brightness level you rarely need to adjust it. It doesn't have the additional tools a pro external viewfinder usually has - like peaking, False color, zebras, etc. Because it takes power from camera and becomes additional consumer, battery is drained a little faster. Hard to say how much faster. I still prefer this compared to EVF that have their own battery. Picture is not as clear as in a high quality camera viewfinder. Native camera EVF receives video stream that already has noise reduced. Image on HDMI out from the camera is more like RAW video, lots of noise in the shadows at high ISO, some noise even at lower ISO. I guess the same would be with any external EVF, even expensive PRO ones. It's not EVF's fault. I also see sometimes some texture like noise, not sure because of this particular OLED display or because of the HDMI out stream. Overall picture quality is not up to what you see in a camera integrated EVF but it is close. Surprisingly noise in the shadows helps me better judge exposure and use successfully ETTR. I live in a PAL region but camera was set to NTSC to have 24fps. There was a lot of flicker in EVF image even when only natural (sun) light was available. Maybe this can be avoided with some additional camera settings. No such problem when camera is set to PAL and 25fps. Sometimes when adjusting brightness, EVF looses sync and doesn't display any image. Have to switch camera on/off one time and problem is resolved. Not a big deal but it happened once or twice. HDMI cable is integrated. A PRO EVF has just HDMI out socket and you can choose your own HDMI cable. This one can be easily modified IMHO.   Size: L=~50mm; Diameter ~43mm; weight 188g with the integrated HDMI cable

Overall I like it a lot. There is nothing like it on the market and especially at this price point. I am surprised it took Chinese manufactures so long to figure out that a good market for external EVFs exists. I prefer it over modified Portkey LEYE III because of the smaller size and no need to plug and charge another battery. I may buy another one. 🙂 Now my Sony ZV-E1 has an EVF and a great one too. 🙂 
Here is the link:
On Aliexpress
You can find it on ebay too. Search for V780H EVF
Here how it sits on top of Sony ZV-E1

Have the older Xiaomi 13 Ultra for almost 2 years. Same sensors and lenses except 75mm telephoto one is 62mm in reality.  My idea was to use it as a pocket video / cinema camera that is all the time with me. And also as my main and only camera on some trips where I don't want to bring additional photo / video equipment.
Still use it from time to time but not as much as thought would be using it. It has many limitations that make getting good footage difficult and ruin as a whole the joy to shoot.
Maybe as a photo camera it would be better
The good:
    Picture and video quality from main sensor is really good. Can be treated as BM BRAW video in Resolve. Can easily color grade it and get great results. Really impressive picture quality from a smartphone and tiny camera that is always in my pocket     Main 1 inch sensor (23mm) lens is good in low light     All 4 sensors/lenses are capable of shooting RAW video at 4K 24fps, 30fps and 60fps     As you said, those smartphones have standard case that makes attaching ND filters really easy. I use 67mm magnetic ND filters and they work like a charm. The not so good or the shortcomings and limitations
    Lens optical IS should be working in MotionCam but in practice I can't get stable handled footage by just using the phone with a simple plastic case for the filters. Gimbal or special metal case with  two handles are needed which totally kills the idea of pocket cinema camera for me. This was not the case with iPhone which I could use and get stable handheld footage by simply holding it and even when walking with no additional support.     Main sensor is good in low light but the other (three) 1/2'' inch sensors are not.     Multiple dot like flares when shooting at night. This is common problem with all smartphones including iPhone. Because of the lenses being so small at night when there are multiple light sources on some occasions you can get multiple small bright dots dancing in your frame. It can completely ruin the footage.     Limited lens focal lengths. My preferred focal length for video are 35mm and 50mm. Xiaomi best sensor is on the 23mm lens. MotionCam can't crop the sensor. It can't even properly frame to 35mm or any given focal length other than native one. Can zoom in the screen which is also the viewfinder but there is no indicators to which focal length it corresponds. Video still will be shot at 23mm and I have to crop in post to get 35mm or 28mm eqv. focal length field of view     Bad ergonomics.  Yes I can get the shots but there is no joy in the process.     While picture quality is impressive for a smartphone it can't match a Full Frame sensor or even APS-C sensor. As you said it can't bend the law of physics     I need to look from time to time trough a viewfinder. Old habit and addiction that I can't overcome. 🙂 Bottom line: I still prefer a hybrid camera and a lens and I don't use much Xiaomi 13 Ultra as camera.
Watched a video about street photography where the author argued that having a tilting screen and shooting from waist  level is the best if we want to take stealth photos where people don't stare at the camera. We can even keep interacting and talking with the people while shooting. This would be impossible with a smartphone.
Anyway this is my experience, hope it will work better for you.

Thats so sad.. I spent a lot of time on vimeo a few years ago. You can still access your Watch Later List, Favorites and Collections but not even being able to go to the page of people you're following sucks.

Thats so sad.. I spent a lot of time on vimeo a few years ago. You can still access your Watch Later List, Favorites and Collections but not even being able to go to the page of people you're following sucks.

Hi all,
since I have had a lot of requests to do so, I have created a YouTube series about the LUTs and my SIGMA fp workflow.
Maybe that is a little more accessible than just a white paper (although there is now a v3 with updated LUTs included as welll)
Here is the link to episode 1. Latest episode is 5. Everything for free of course. 🙂
Maybe you enjoy watching this series. 🙂 
If you have questions, let me know.
Ole
 
 

Hi all,
have attached a chart that sums up my essay about the fps ISO behaviour.
Concentrated only on the native ISO circuits instead of the ones with further analogue gain, which I would not recommend using.
Rating of the native ISO value for the 1st circuit are per my definition in accordance to the 2nd circuit stops distribution.
The chart is valid for RAW (CINE) recordings of the Sigma fp.
If you decide to go through the ARRI Rec709 LUT, than you should consider using the fp in the bluely highlighted ISO range to get the rolloff.

@TomTheDP
 
Take a look at this essay below, used the same settings with your ARRI footage and they are extremely close now. Thanks again for giving access to that footage. 🙂
 
Hi all,
I have some very exciting news for you. After a couple more testing sessions I have figured out how to match my ProRes RAW workflow coming from V-log ending in the ARRI Rec709 LUT as well for cDNG!!
Assume this workflow can also be compiled into a monitoring LUT to be uploaded on 3D compatible monitor. The highlights will still be shown as clipped with more than +3 stops over middle grey. But that could be remedied by securing highlights setting the camera to ISO 100 and afterwards switch back to ISO 800. They will be left intact as the camera is invariant in that range and you can see what is happening in the shadows.
Necessary steps are the following:
1. RAW settings & CST to ARRI LogC

2. CST (non industry standard) bringen the colors into range where they belong

3. ARRI Rec709 Classic LUT

4. Comparison shot of my PRR workflow footage: same same 🙂 

Hi all,
I want to come back on the topic of ISO behavior of the fp. Have tested the camera further over the last weeks and found something interesting.
Think I understand now how the camera works in detail. 
Between ISO 100 and 800 the camera is working in CINE EI mode, with a native ISO 500 following the same rating logic as they have rated ISO 3200 (about 5.42 stops above and 7.04 stops below 18% grey). That means the clipping point is as well the same. Do not understand why they have chosen to declare ISO 100 as the 1st native ISO for video mode. Rather untypical for a cine camera.
When checking the false colors on the Ninja V in native (V-Log) you can see the clipping point jump up and down accordingly while selecting the ISO values mentioned above. 
That means your native selections for ISO should be 500 and 3200 if you do not want to use Cine EI. Nothing else. Just imageing the camera has to be loaded with film stock. You can choose a lower or higher sensitivity. Than compensate too much light with a ND filter, to little by letting in more light. 
ISO values 1000 to 2500 are achieved with analogue gain and will sacrifice image quality. Same applies for all values as from ISO 6400 and above. 
However if you want to use the benefits of Cine EI you can use this knowledge to your advantage as well.
Lower the preview ISO below 1st base ISO 500 you will get more dynamic range shifted to shadows, shift it upwards to ISO 800 you will receive more highlight details (good for rolloff on a bright day). With the 2nd base ISO 3200 you have the option to get some more highlight headroom (to be precise 2/3 of a stop) if you go up to ISO 5000.
Have attached the chart provided by Sigma for visual reference. 
That mixture of using a CINE EI and (analogue gain) ISO is rather special. Some cameras give you the option to use either or, but no camera I know is doing the same as the fp.
Hope this will proof to be a value for some of you to squeeze the best quality out of the fp. 🙂 

I must say I love this little camera. Especially since the LUTs are now workable. Have attached you a couple of pictures, am currently recreating a scene together with my wife and child. Guess some of you will recognize the movie? 🙂 
Lit by candles only. Lens used DZO Vespid 50mm at T2.1 and fp set to ISO 3200. 

Once it is ready I will post a link here as well so that you can judge the image quality. But do not expect great acting, we are both not even bad actors, more like no actors at all. 😄 
 

This clipping point is in line with the characteristics of the PRR test clips you uploaded before, and broadly speaking, also the behaviour of the DNGs, so I don't see anything strange here. We established that up to ISO 800 was an amplification of the base ISO 100 signal so the clipping point is raised accordingly. As the signal increases it should also be raising the noise floor obviously, but we noticed that the noise floor stays pretty low which is a nice win. 
For whatever reason, this taps out above ISO 800, so there are diminishing returns as far as overall dynamic range. When a camera is baking in the ISO change, the clipping point would ideally continue to increase. Maybe Sigma prioritized a clean noise floor instead of highlights for the higher ISO ranges (>800).
So using ISO 800 is a decent option. Regarding ISO 3200, the higher base ISO, it has a lower clipping point but my observation is that it has a proportionally lower noise floor. So my recommendation for absolute max DR was to shoot 3200 at least -1 stop underexposed since you could raise the noise floor and it would be the same as ISO 800/1600, but with additional highlight headroom. If you think about it, this is in line with the expected behavior with higher base ISOs: lower noise floor and slightly lower highlight clipping point. I understand this is a bit of a headache to track for a marginal gain, so shooting ISO 800 is a good rule of thumb to get max DR to keep things simple.
 
 
Well again, the IRE value is LUT or view gamma-dependent, but your numbers make sense. The base ISO 100 has a lower clipping point than ISO 800 which is baking in an amplification of the signal, but somehow also keeping a similar noise floor.
For example with this ISO 800 test clip, when importing as V-log into ACES and viewed through the standard ACES output display transform the clipping point is in the high 90's so it stands to reason that ISO 100 would clip lower.

 
 
 

OK there you go. So yes it's confirmed that Atomos decided "Native" = Vlog. After you said it, I googled it and found the AtomOS release notes update PDF that you're quoting from. This certainly reduces a lot of uncertainty. It's a shame the Atomos rep was not able to clarify this when I emailed them a while ago.
The Vlog curve spec defines 8 stops above middle grey, so the max linear value is 46.0855. (0.18*2*2*2*2*2*2*2*2). The fp sensor clips way before the max value that Vlog was designed to hold so it should not be an issue. Based on the test clip you recently uploaded with the sun clipping out of the window, it's clipping at about 0.833 in Vlog so that would be like 83 IRE. In scene reflectance terms once converted from Vlog to linear in Nuke, that's 9.36. So it's clipping more than 2 stops below the Vlog max value.
This screengrab illustrates where that is in relation to the entire scene reflectance range defined by the Vlog curve. Specifically this shows a Vlog to linear transform, so it's the inverse of a Vlog curve.
At the bottom, the input numbers represent the equivalent of an "IRE value" (0.83) and the output numbers represent the scene linear value (about 9.4, matches Nuke). So as you can see, there's a ton of headroom remaining that will never get used.

 
 
That means on the same Vlog to linear transform the input is about 0.59 and the output is 0.9. Here's a screengrab showing you how much extra headroom you get for capturing highlights above that. You basically get all of the curve to the right of the green arrow I drew.

 
So while it's not ideal that Sigma don't have their own log curve, Vlog is okay as a monitoring option on the Ninja V.
It doesn't matter what ISO you use, you will never use up all of Vlog. This is assuming there's no funny business going on where the Atomos is somehow clipping the highlights as they come in from the camera, but I doubt that.
Just to clarify, it doesn't matter which monitoring option you choose on the Ninja V, the underlying file is exactly the same. The difference between monitoring in PQ or V-log is that Vlog requires you add your own LUT, while PQ out of box creates a "display" image that takes advantage of the extra nits of the Ninja V but it's just a consumer HDR display standard for TVs.
So if you want to view the same image while shooting as in your timeline, you would match the display settings in both the Ninja V and FCPX, which is all you do in any software/hardware combo anyway. All that's been figured out is that the "Native" input is a known log format (Vlog), so that means it's easy to figure out how to load the look from your editing/grading software into the Ninja V. 
 
 
 
 

Just a note IMO about linear Raw vs Log encoding. Let's keep in mind that log encoding was developed by Kodak for Cineon scanning of film negative, and is basically what was passed on to digital cameras. It's not an inferior image encoding method developed for hybrid 4k mirrorless cameras. The LogC encoding on the Alexa is probably the most prominent log curve for a digital camera to be very close to Cineon, and Red and Sony eventually capitulated to that.
It's not inferior to linear raw, unless the individual log curve implementation by that camera manufacturer is left wanting. It's a more efficient encoding of highlights and shadows because it gives less code values to highlights, rather than half of a linear image for the brightest stop. It also allocates more code values to the shadows than linear raw. I would rather take 12 bit log ProRes RAW from the Sony cams/Ninja V than 12 bit linear DNGs, but obviously that's a much more expensive solution than the fp - like 5x the price.
The reason that log footage is often inferior in the prosumer cams is because it's probably chroma subsampled, denoised and DCT compressed. ProRes 4444 log from the Alexa Classic is a thing of wonder though.
If you apply the inverse transform of the log encoding curve, then your image is back in linear space and if you factor out the ways the image has been decimated, then it is very close to an original raw recording.
 

You're right, they are defined and that's what allows us to transform in and out of them to other colour spaces. It's not like we have to work in linear floating point in ACES gamut, Rec2020 or Alexa wide gamut, but to me working in ACES is a kind of lingua franca where the mathematics behave in a simple predictable way that is the same as the way exposure works in the real world. And under the hood, the Resolve colour corrections are still applied in a log space (ACEScc or ACEScct). I'm not saying it's perfect, but it makes a lot of sense to me.
The caveat though is that more often than not, an image that is represented as sRGB or Rec709 has had a linear dynamic range compressed into the 0-1 range not just by doing a transform from linear to sRGB or linear to Rec709, because that would cut out a lot of highlights. So there's some form of highlight rolloff - but what did they do? In addition, they probably apply an s-curve - what did they do? Arri publishes their logC to Rec709 transform which is via their K1S1 look, so this is knowable. But if you transform logC to Rec709 with the CST it will do a pure mathematical transform based on the log curve to the Rec709 curve and it will look different. 
So basically, to say an image is sRGB or Rec709 isn't accounting for the secret sauce that the manufacturer is adding to their jpeg output to most pleasingly, in their mind, shove the linear gamma/native wide gamut sensor data into the "most pleasing" sRGB or Rec709 container. Sorry if you knew all that, I'm not trying to be didactic.
Just as a side note, Sigma apparently didn't do this with the OFF profile, which is both helpful and not helpful (see below).
 
I stated before, that the work Adobe did with CinemaDNG and the way a tool like Resolve and a few more specialized command line tools like oiiotool and rawtoaces interpret the DNG metadata, is based around capturing and then  interpreting a linear raw image as a linear-to-light scene referred floating point image that preserves the entirety of the dynamic range and the sensor wide gamut in a demosaiced rgb image. Not that Cinema DNG is perfect, but its aim is noble enough.
What you're describing with shooting a chart and devising a profile is what the DNG metadata tags are meant to contain courtesy of the manufacturer (not Adobe), which is why it's a pragmatic option for an ACES input transform in absence of the more expensive and technically involved idea of creating an IDT based on measured spectral sensitive data. If you look in the DNG spec under Camera Profiles it lays out the tags that are measured and supplied by the manufacturer.
Separate from that is the additional sauce employed in the name of aesthetics in Lightroom, and above I described the process by which the manufacturers add a look to their internal jpegs or baked Rec709 movies. And what does it matter if there's something extra that makes the photos look good? Well I'd rather have a clean imaging pipeline where I can put in knowable transforms so that I can come up with my own workflow, when Sigma have kind of fucked up on that count.
What I will say about sigma's OFF profile that was introduced after feedback, is that as best I can tell, they just put a Rec709 curve/gamut on their DNG image almost as malicious compliance, but they didn't tell us exactly what they did. I mean in this case, they did not do any highlight rolloff, which in some ways is good because it's more transparent how to match it to the DNG images, but also unlike a log curve the highlights are lost.
So the most I've been able to deduce is that by inverting a Rec709 curve into ACES that I get a reasonable match to the linear DNG viewed through ACES, but with clipped highlights. But for viewing and exposing the mid range, it's usable to get a reasonable match - ideally with another monitoring LUT applied on top of it for the final transform closer to what you would see in Resolve.
And I absolutely don't want to say that we all must be using these mid-range cameras like we're working on a big budget cg movie, thus sucking the joy out of it.  But like it or not, a lot of the concepts in previously eye-wateringly expensive and esoteric film colour pipelines have filtered down to affordable cameras, mainly through things like log encoding and wide gamut, as well as software like Resolve. But the requisite knowledge has not been passed down as well, as to how to use these tools in the way they were designed. So it has created a huge online cottage industry out of false assumptions. Referring back to the OG authors and current maintainers pushing the high end space forward can go a long way to personal empowerment as to what you can get out of an affordable camera.

Hi all,
I have invested much time to investigate on the monitoring and ISO behavior of the fp. Finally in combination with the Ninja V I have found a working solution for me which gets both the monitoring picture and the metering right.
Basically after reading through your posts I understood that the fp is ISO invariant and has only two native ISO values available for metering and recording. (ISO 100 & ISO 3200) Others are digitally amplified. 
False color screen with the Ninja V is working on both of these ISO values to meter the correct exposure. However as a lot of you have mentioned the Rec709 monitor view is only showing the correct picture in ISO 100. The 3200 setting will be overexposed and useless.
After several tests I have figured out that if you set the Ninja V to PQ the ISO 3200 screen will look correct. Different story for ISO 100, but this can be tricked if you select ISO 400 in camera. Screen will look exactly the same now for both ISO values. Metering for ISO 100 is unaffected, since the false color mode is only showing the values for ISO 100.
Since the recorded ISO values of the Ninja V are pushed into Final Cut Pro X you will get an overblown picture in Rec709, BUT and this is really nice, if you select ISO 100 instead of ISO 400 and ISO 640 instead of ISO 3200 everything will look as expected. Correctly metered and captured. Remember, in the additional manual of the fp in regards to the ISO behavior, Sigma is mentioning ISO 100 and ISO 640 for photos...
If you need to work with Zebras the correct settings are for ISO 400 => 55% and for ISO 3200 => 60% if you want to avoid anything in the 100% range. You could go slightly higher as the fp has some more headroom over 100 IRE.
Quite a lot of hassle if you ask me, but once you have got used to this you will get a nice picture on both. 
 
Hoping this will help some of you 🙂
 

I just updated to V3.0 and wow, what a great update. Every button on the camera is now customisable.
With my setup above, changing any settings in the quick menu means moving the VA out the way. But now I can have ISO on the front dial, shutter on the left and right buttons, volume on up and down. Then all the buttons along the bottom can be a whole host of over functions.
To top it off, it also gives real 24p UHD cDNG. Jeez.
https://www.sigma-global.com/en/cameras/fp/?tab=support&local=firmware

I saw his first part video when it came out and liked his theories, then the last Jedi came out, I watched it... by the time the second part of his comparisons came out, I liked Yedlin a lot less 😉

I would say it isn't. OFF changes the color matrix in the DNG to sRGB while all other modes retain the camera native RGB color space. The other color modes have no effect of any kind in raw but OFF changes the DNG metadata which then affects the color in Resolve, for example.

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It is currently only available in China, and will be released in November with a self-assembly kit that you can install yourself.
The installation isn't complicated. You just take off the screen and don't have to take the device apart. The whole process takes about 20 minutes.
No parts are damaged and can be restored to factory state.
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I would declare a lower value of the item to reduce the tax.
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In the interest of clarification I'd like to see if a few observations are correct. I am talking about DNG forward. It has been my understanding that "base ISO" is determined  by the least noise vs the highest dynamic range. Sigma has proscribed that the base ISO is 100.  I think we have established that the FP uses a linear curve. There are +/_ 12.5 stops of range.  If shot at base ISO then neutral grey should be at the middle of this. The camera's waveform and zebras are correct with this. In my understanding, changing the ISO on camera or in post results in changing the amount of information available  above or below that grey exposing properly-AKA grey is grey. If we choose, or "pretend" that the ISO is 800, we say "I choose grey will be here", whites will still clip at the same amount of light with this much light reaching the lens. We will have less information to convert the above grey-to-blown-out to the +/_ 6 stops of rec 709, but more in the below-grey-to black, which will still go black with the same lack of light amount reaching the sensor.  When changing ISO on camera The FP changes the waveform and clipping point zebras when you change the ISO! As if it is looking at an initial transform at 100, and then you are boosting that image thus indicating clipping where there is none. This makes on the fly protection of highlights and checking of black levels problematic! 
I thought maybe, use 100 ISO to check clipping, set exposure, then switch to what ISO you might choose to monitor and eventually use as the working ISO to expose grey properly. When shooting, then remember, (or make a sticker for the camera!) how many stops above or below your chosen ISO there is to that blown point or black. A spot meter is a pretty good tool to have at this point. Not great for moving fast. Or start to develop your eye. faster, but more accurate than you might think! 
This business of 3200 is a real conundrum though. If I read Rawshooter's generous contributions right, the very metering is wrong, and math with a base ISO check or a spot-meter is the only way through. And all monitoring in camera is going to be off by two stops at proper exposure. Damn. So to move quickly, dial in 3200 + look at recommended exposure, then open up two stops, deal with a blown out monitor image use it as a framing reference. Spot meter the highlights (or gage with your eye haha) to know where the image will blow out.
There is a fundamental question that is kind of pivotal to this and my understanding as a question though.  If I have a camera that has a base ISO of 100, and it has a 5 stop dynamic range (for ease of math), If I choose (shooting raw) to set the ISO at 1600 (one stop of information before blow out), when choosing a rec 709 transform, will the remaining stop of information above middle grey be parsed into the  3 stops rec 709 sees as above grey to white? Here is where I am sure I sound stupid because a stop is a stop, double the light. 
Here's a bit for thought... or telling me to shut up and that's your last glass of wine Mr. I have gotten used to looking at a good monitor and knowing what I see is what will be delivered. It is a pretty seductive thing. I shot film though for 20+ years and I see a lot of parallel with shooting RAW. When shooting film you used a meter and knew the filmstock, what it could handle, how and when it would blow out, how it would handle underexposure (black pixels matter yo! haha) You did not see the printed image for a couple of days (quicker if you were shooting for the studio!)I used a meter and knew the sensitometry of any given film stock, knew what it would matriculate to when graded. Raw seems like this. We look at a proxy image awaiting development. That sounds like knowing the sensor. I got to work with some greats, they could tell an exposure without a meter by eye. We used to play a game when I was a camera assistant on big pictures, and try to guess the shooting stop.  After a while, we nearly always got it. Practical experience of the sensor, no matter whether it's film or digital is key. Knowing the tools is the mark of a cinematographer. I'd like us to have a clear idea of how this camera deals with light, put it in in the back of our minds and then go shoot wicked cool stuff with it.