Anaconda_

Well, they've definetely got a new camera coming. The 'Ursa Cine'. I'd imagine they will also announce other new hardware, the next Resolve, and software for the pocket cameras.
Ursa Cine seems to have PL mount and some kind of wireless features judging from the antenna. I wouldn't be surprised if it was built with camera to cloud and all that stuff in mind. Also USB-C on the front? I doubt that's for an SSD, so maybe powered focus motor or something?
 
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Straight off the camera, no further crop.
It has the resolution to do it justice.
Will shoot some Cinema DNG with it tomorrow

I think it's more about licensing ProRes. If the camera uses Braw, it doesn't cost them anything. And I'm pretty sure h264/5 are free to use. 
As Braw is pretty close to ProRes file sizes, I think I'd actually prefer to have Braw and h265 over ProRes. I often shoot in remote locations, and need to send files back to the big city. The small filesizes of h265 would be really great to have in camera.
So I'm quite excited about Braw and a proxy simultaneously... However, Blackmagic seem to enjoy the Goldilocks effect, so I'll wait for the one that's juuuuust right in about 2 years time. 

Shame it uses LPE6 batteries though.

Interesting take, but I don't necessarily agree with what he's saying. He's right, in saying that this system doesn't work with multiple cameras. However, TC can still be valuable for a single camera shoot, especially when recording 2 audio sources externally.
In my opinion, this is the same as complaining that the one tripod you bought doesn't hold all three of your cameras. Rode have noted that they system can sync other 3rd party TC generators and get them in sync, so you can have multiple cameras running the same TC, with some extra hardware. Which is the same as any other TC system.
He also mentions that the transmitters have to be connected to the reciever for TC to work, and you lose the function if the reciever shutsdown or loses connection. But Rode have said they'll stay running accurately for quite a while, and when they reconnect to the reciever, they automatically double check that everyone is running on the same TC.
Skip to 7:30
 
 

Looks pretty amazing. Where could they go from here?
 
Hopefully they also make some TC receivers that add onto the system to sync multiple cameras.

Looks pretty amazing. Where could they go from here?
 
Hopefully they also make some TC receivers that add onto the system to sync multiple cameras.

Looks pretty amazing. Where could they go from here?
 
Hopefully they also make some TC receivers that add onto the system to sync multiple cameras.

....and in todays episode of "the camera YT echo-chamber doesn't know shit about the real world", here's a real-world and very high-end studio shooting VFX background plates with a gazillion BGH1 units, or arrays of GH5S paired with 12-35mm f2.8 zooms.
Their website indicates they've worked on Joker, Stranger Things, Mission Impossible, and dozens of other high-end productions.
The thumbnail appears to show 17 BGH1 units:
One shot from the Stranger Things rig detailed on their website shows "our standard nine camera array" is 9 x GH5S units - 5 at the back (with two facing sideways) and 3 on the front:

To all those who suggest that the size/weight advantage from MFT is gone, their page says "The rig was still able to fly as luggage and efficiently attach to a rental car, all while being street legal."  How much does a 24-70mm F2.8 weigh again? If you can't remember then the short answer is more than double the MFT equivalent.  In the video he talks about how each BGH1 + lens is about 1lb, and keeping the weight down allows them to rig the car up in such a way that keeps them from needing increased permitting and things like escort cars (which for 360 cameras appear in the shot).
So, the GH5S (2018) and BGH1 (2020 - 3 years old), which aren't FF, don't shoot RAW, don't have IBIS, and have been completely forgotten by the entire camera YT echo-chamber, are being actively used on some of the biggest and most VFX heavy films being made in Hollywood.
They also just casually mention in the video (11:35 if you don't believe me) they've been involved in over 2000 productions, and that "these cameras are able to match perfectly with all your A-cameras".

I would recommend not changing lenses at a concert. Firstly you'll lose time finding enough space to change them, or balance the lenses in your arms and risk dropping everything.
But most importantly, concerts get hot and you will 100% get condensation on the sensor, meaning you'll be unable to shoot anything for a minute or so each time.
Better to have two bodies with a nice combination of primes (say the 21 and the 50)
But I would personally stick to the zoom on cam A with a super wide prime for cam B.

I would recommend not changing lenses at a concert. Firstly you'll lose time finding enough space to change them, or balance the lenses in your arms and risk dropping everything.
But most importantly, concerts get hot and you will 100% get condensation on the sensor, meaning you'll be unable to shoot anything for a minute or so each time.
Better to have two bodies with a nice combination of primes (say the 21 and the 50)
But I would personally stick to the zoom on cam A with a super wide prime for cam B.

Thanks for the work and effort! I'm looking forward to testing it out!
Do you know if it also works with Braw? Happy to send some test shots if you want. Just let me know what kind of footage will help.

I would recommend not changing lenses at a concert. Firstly you'll lose time finding enough space to change them, or balance the lenses in your arms and risk dropping everything.
But most importantly, concerts get hot and you will 100% get condensation on the sensor, meaning you'll be unable to shoot anything for a minute or so each time.
Better to have two bodies with a nice combination of primes (say the 21 and the 50)
But I would personally stick to the zoom on cam A with a super wide prime for cam B.

I would recommend not changing lenses at a concert. Firstly you'll lose time finding enough space to change them, or balance the lenses in your arms and risk dropping everything.
But most importantly, concerts get hot and you will 100% get condensation on the sensor, meaning you'll be unable to shoot anything for a minute or so each time.
Better to have two bodies with a nice combination of primes (say the 21 and the 50)
But I would personally stick to the zoom on cam A with a super wide prime for cam B.

I would recommend not changing lenses at a concert. Firstly you'll lose time finding enough space to change them, or balance the lenses in your arms and risk dropping everything.
But most importantly, concerts get hot and you will 100% get condensation on the sensor, meaning you'll be unable to shoot anything for a minute or so each time.
Better to have two bodies with a nice combination of primes (say the 21 and the 50)
But I would personally stick to the zoom on cam A with a super wide prime for cam B.

Thanks for the work and effort! I'm looking forward to testing it out!
Do you know if it also works with Braw? Happy to send some test shots if you want. Just let me know what kind of footage will help.

Hi all and Happy Easter to you 🐰
most you know that I have invested quite some time to get the SIGMA fp "right", came a long journey over trying to understand ProRes RAW, cDNG and applying the ARRI colour scene to footage of it...
Ultimately I have worked in the last couple of weeks on own LUTs, which are keeping the colour science of the camera and additionally are mapping the full dynamic range potential of the camera into Rec709. 
Took a little bit different approach than common, because the LUTs are basically only tone mapping the dynamic range and do not add any further contrast, which in the end leaves a lot more material for grading. They are working with both Final Cut Pro and DaVinci Resolve, so both PRR and cDNG workflows are covered.

Below you will find the free download link as Easter gift 🥚 There is an operations guide included as well, which states what the LUTs are doing, plus tips and tricks, some graphics and last but not least, my recommendation in regard to adding contrast.
 
Hope the ones of you who still have this camera will find that useful, it is unlocking quite a bit of potential. Looking forward to hearing your comments, see your footage processed with it. 🙂

Link: https://www.dropbox.com/s/ab2oef3bn3mz1dx/SIGMA fp Rec709 LUT v2.zip?dl=0&fbclid=IwAR1tqT_N3uLbzJeM4s66G1841SFhwLsOxuFjnYtEdBxudYDrRgHMH0g7ig4
 
 

who would pay 500 more for just the colour? I get you can have a preference, but jeez. I'd take a pink one if it was 500 less!

What are the thougts? New camera, or new firmware... or both?

Before ordering, I asked the DPL guy which drive he recomends. He suggested this : SABRENT 1TB Rocket NVMe PCIe M.2 2242 DRAM-less Low Power Internal High Performance SSD (SB-1342-1TB)
That's what I ordered, and gave me the results above. I'm not about to shoot a long interview in cDNG, so keeping clips reasonably short is no problem for me. For anything longer, I'll shoot Braw... which just gave me an idea. Are these issues caused my the SSD or the camera? I'll plug the SSD into my VA and shoot Braw with the FP and see if it also cuts out before the disk is full.

I shot with it all day on Sunday with no problem. Used a little over 500gb on a 1tb drive. That was all short clips though, I think the longest was about 5 minutes, but that was the last clip I recorded.

I'm now running a long test with the camera rolling next to me. So far it's gone for 20 minutes with 34 left on the SSD. I'll see if it goes all the way to the end and then report back. If all goes well, I'll record in 15 minute chunks until it gives issues or fills the card... Watch this space.

I just recieved by DPL setup and it's changed how I look at the camera. With my previous setups, I either had a monitor on the back, or the loupe with an SSD on top. Both made the camera much bigger. But now I can shoot 4k 12bit for just under an hour on a 1tb SSD. 
Not having a cable coming out the side makes a big difference, and the extra width is justified by adding a cold shoe. It's more or less the same size as HU-11, but better functionality, as it houses the media and still allows access to the HDMI and 3.5mm input if you need them.
Of course, with the price it's only worth buying / testing if you're going to keep the camera, so keep using the t5 until you're sure you're happy with it. And I could very much recomend using Canon FDs.
(not my video, but it's stunning and a 'simple' grade by the sounds of it) 
 

How do you find 4k 8bit raw vs 1080 12bit raw?
If shooting to SD cards, I generally go 1080 12bit, but only because I haven't properly tested 4k 8bit yet. Would love to hear your thoughts.

It's believed red and Canon traded tech as the Komodo has a Canon RF mount, so Canon can have compressed raw. 
So Canon raw LT does infringe, but they have a pass.

As it happens, I took the velcro off the vf soon after writing that post and have a new roll on the way. But here's a couple photos using an elastic tie (and 28mm fd) so at least you can see the sizing. With the velcro, you can position the cable a little nicer though, as the ssd is more stable and secure.