mercer

Hey, sorry no... that was a typo... there isn't an OG2.5K. However, I can shot open gate 2K to a V60 card, and in lossless, I can also shoot open gate 3K (OG3K) to a V60 card as well.

Are you just testing the ability to hack and moving on, or will you eventually add features like raw video, log profiles, etc... where possible?

I have seen that, thanks. Idk, how much more recording time you'll get shooting 2:1? It's my understanding that the camera can only give an estimate based on uncompressed cDNG not with lossless. Right now with OG3.5K on a 128gb card, the camera shows 6-7 minutes. Google AI told me, I could expect 10-11 with lossless, which is great but still not enough to justify, considering how many V90 SD cards I'd have to buy. The OG2.5K is so good that 30 minutes (roughly in lossless) to a V60 card is perfect for my needs. Don't get me wrong, I prefer the 3.5K, and would consider it with an SSD, I suppose, if I look at it like Hitchcock would... shoot VistaVision with a 1.85:1 release. I also have to research, test, if the hack is on a card, can I just leave it there and still record to SSD. I haven't tested it enough to the point where I needed to format cards, but having to delete clips, or upload the scripts every time is kinda annoying. All that said, I have been swamped with work and family stuff, so I haven't had much time to mess with it. So far, just my first half hour outing, but this has completely changed my entire gameplay going forward and I have been rearranging some buying/selling of lenses, and working on some scripts to utilize it. If anyone is interested, here's another frame from the OG2K mode with the Minolta 35mm 1.8... the other two I posted were at iso 3200 and I think this one was 100... sorry I couldn't find a cat to shoot...

So I was also able to get the OG3.5K to record to SD card which is crazy. But it isn't really practical since I'd only get about 10 minutes per 128gb v90 card. Anyway, here's a frame from that mode, if anyone is interested...

Yeah the OG2K is pretty good. It's clean with a nice texture that was lacking in the original firmware... Quick shot after the sun set. Minolta MD 35mm 1.8...

I have FPsup running on my FP now and it was pretty painless. I hadn't upgraded the FW to 5.02 yet, so I had to do that first and then went to their GitHub and checked the features I wanted, and it compiled the code and I downloaded it. Unzipped the files, placed them onto the root of my SD card and popped it in... Sure enough it worked... my FP can now shoot OG2K, OG3K and S16. An initial test at home went smoothly. I was even able to get 30 seconds of OG3K recorded to the SD card for 30 seconds before I stopped it. It was a static shot, so I assume that helped. Gonna head out today and see what some movement will do on a busier shot. I'm really interested in the 3.5K in 2:1 but I assume I'll have to use an SSD for that. As far as the FP-L, I assume someone will work on it. The Dev isn't planning to do it, but he kinda pointed people in the right direction.

I'll surely love the camera if Sigma sends one my way to test ... and keep.

@BTM_Pix I would assume it can probably be ported over to the FP-L without too much kink but that's just a guess since I'm only recently looking into it.

Wow, don't even catch those. I had read about the 4:20 that @Ty Harper mentioned but that doesn't bother me because I wouldn't buy a raw capable camera to shoot compressed video, unless it was ProRes. The EVF thing you mentioned is goofy. What are they doing over there at Sigma when they design these things. They should stop listening to YouTube pros and talk to us over here.

No I think it only works with the original FP.

Yeah this is pretty cool. I've been thinking about selling my FP for a while now, but I definitely need to test these new modes before I do... the open gate 2K and super 16 mode specifically.

Yeah I'm sure it's fine and a bunch of people will buy it and create gorgeous images with it. I've had such a love/hate relationship with the original, so I was surprised to see Sigma not only ignore what was annoying about the original, but double down on it. The good news is that this release has confirmed a few things I've been mulling over about these new camera releases and where I want to spend my money.

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.

Sigma could have released this camera with the updated screen, a slightly larger body to accommodate CF Express for internal 4K raw, added IBIS, and literally changed nothing else and it would have been a good update. Instead they give us ProRes Raw and it isn't clear if it's internal or to SSD only and then gave us a full hdmi?! Why do we need a full hdmi if they're giving us internal, or usb ssd, ProRes Raw?! They could have omitted any HDMI and gave us a CFX slot. You can save $800 and buy the Z5iiC and have internal n-raw to sd card, af and ibis.

I did something wrong when trying to quote you... either way DGO sensor makes a little more sense with those ISO numbers. My GH6 has one... I don't like it on that camera, but I assume the full frame versions are better. In 2019, I was the perfect customer for the OGFP... this one... no thanks. Maybe at $1500 but for the same price as the ZR?! No thanks. Of course, I'm thinking about making a camcorder my next camera purchase, so what do I know.

But B&H specs are wrong sometimes, and since they list the Dual ISO as 320 and 500, they could be wrong. I did notice they listed L-Log as a video format... Honestly Sigma could have given us internal ProRes 4444 to CF Express and included IBIS and it would have been a home run. I wonder if the 2.5K raw can be recorded internally?

Not according to the specs on B&H, I only see h.264, h.265 and ProRes Raw HQ. It also says they included 70GB of internal memory... but according to DP Review, you need an SSD to record ProRes Raw... so I seriously do not understand this camera. They keep all of the annoying issues, take away the one good spec (cDNG) and then don't give us IBIS either?! So you still need to rig out the small camera with an SSD to get a higher resolution that nobody asked for? I mean at least make the internal card slot CFExpress... hell give me regular CF. The FP was frustrating in a lot of ways, but it was released in 2019, so I still feel it was a pretty great release. This is just stupid.

Why? The raw files will still be pretty huge. No IBIS. No PDAF? What exactly is appealing about this for weddings?

Wow... so they gave us 6K ProRes Raw and got rid of cDNG? And then they didn't even give us ProRes as their internal regular 10bit codec. No IBIS?! But they gave us the ability to access a 32bit audio handle, if we have the extra viewfinder attached? The only interesting spec on this camera is the internal 2.5K in ProRes Raw. ZR for the win.

This is probably a good workaround, especially for business owners that sell their services based upon a specific, signature look.

I don't know if it's overbearing as much as it's an exercise in futility for at least 60-70% of the shots. But my biggest issue is that the utility LUTs just make everybody's footage look the same. Now I don't necessarily mean anyone on this site, but if you go on YT and watch 90% of the reviewers, their footage all looks the same and a majority of those guys have their own businesses separate from their YT channel. So to eek out an extra stop or maybe two, depending on the shot, let's shoot Log, slap a LUT on there and call it a day... or do a CST... now it's like I shot with an Alexa... and call it a day. That just doesn't really interest me anymore. I'd rather have DR limitations I'm forced to work around and get more interesting images. Just a thought I've been wrestling with. It's not like I'll never shoot in Log, I'm just opening up other options and exploring different color profiles now there's 10bit video in almost any camera.

The GH6 is odd because they introduced the Dynamic Range Boost setting that supposedly does a dual iso meld like the Alexa does but it stretches the already stretched image so much that it introduces horrific chroma noise in the shadows and the low mids. So it's basically unusable without post noise reduction... well to be fair, the in camera noise reduction might fix it but I always dial it down. They fixed the function in the GH7 supposedly. But for an open box GH6 for $900, I can't complain. That said, I do think there's a hair more DR with the Arri Log than vLog and probably +1-2 stops compared to CineLikeD or my new favorite Flat profile. I must say the ProResHQ in every resolution is such a great codec. The files are thick and juicy. If you're ever looking for an upgrade without paying GH7 prices, the GH6 is a weird, yet fun camera. The screen mechanism is a dream.

Probably not. I had a love hate relationship with that camera. I think I owned 3 of them, and the best I got out of it was on the first day I shot with it... it was all downhill from there.

I'm at a point where I ALMOST see no point in shooting log profiles. There are a few good ones, but most require more grading after a utility LUT is applied and/or creates scenarios where everybody's footage looks pretty much exactly the same. So if you're just slapping on a LUT and calling it a day, for 9 out of 10 shots, you could just use a standard rec709 picture profile and get similar results. With the advent of 10bit video, in recent years, most standard picture profiles look even better than they ever have with thicker color and near perfect skintones. Sure there are instances when you may need the extra stop or two of dynamic range a Log profile offers, or a specific LUT gets you a relatively quick look by shooting Log, but again... 9 out of 10 times, a slightly tweaked Rec709 picture profile will end up looking better and get you there so much easier without worrying about CSTs and color pipelines... especially since damn near ever Log profile is just trying to emulate Arri LogC which in turn was designed to emulate film. Speaking of, I have the Arri LogC3 software key on my GH6 and it's pretty good... better than vLog but it's still noisy as hell with ugly chroma noise in the midtones and shadows so I recently went back to CineLikeD and V and I am back to making a couple contrast and saturation adjustments and being happy with it. I'm sure there is a slight hit in DR, but nothing so drastic that I'm surprised or wish I shot in Log instead. So Log is cool, I'm glad it's available, but it's fairly unnecessary in most situations and can cause a bigger headache.

Very cool! I'm so glad you are keeping this thread alive. One of my first interchangeable lens cameras was the eos-m and I loved that camera. The last time I used it, almost 10 years ago, was when I tested Magic Lanter on it... I did test the raw but it was pretty abysmal back then... so I was more interested in the bitrate bump. Shortly afterwards, my camera path led me through BM and into my 5D iii, so the the eos-m just sat in the closet for years. A couple years ago I was thinking I'd take it out and mess with it again. Hadn't really thought about using it in years, so I grabbed it from the closet, charged one of my old batteries and pushed the on button... and nothing. I just figured it died... so back into the closet it went. I recently realized it may need a card with ML boot flag (or whatever it's called) on it. I ordered some new batteries and I'm going to figure out which cards are good for the new builds and cross my fingers. Anyway @QuickHitRecord thanks again for keeping this topic alive. No disrespect to the other forum members, but basic camera chat about new releases is fun and all, but the reason I started posting on EOS HD was because of posts like this.