Vintage Jimothy

22 hours ago, Tobias Mennle said:

I was pleased to find this interview, but learned very little from it, because most urgent question is: Where is EVA2/Varicam LT with S1H sensor or better.

Panasonic organic sensor is a big hope, as it would make NDs irrelevant, which can probably not be incorporated into L-mount cameras with an IBIS.

The S1H is amazing and a great B-camera for my 5 year old Varicam LT. Although imagewise the S1H is rather the A-camera now.

But rigging up the S1H for my needs is a nightmare and will always be a compromise in terms of usability.

Where is EVA2 with S1H image pipeline??? It´s a damn long wait.

Then Varicam LT with organic sensor.

I hope the wait is worth it.

Yeah, I'm honestly shocked that Panasonic have been taking so long to release their own top end Large Format cinema camera to compete with ARRI, RED and especially Sony. The Varicam was really popular with a ton of Netflix shows, but it's quickly been replaced for a ton of those productions with the Sony Venice. 

9 hours ago, IronFilm said:

I feel that the Panasonic Varicam LT is one of the most underrated cinema cameras of the recent era. 

Just the timing and market was bad for it. 

Varicam S35 before it wasn't too successful (too expensive, and too heavy? And late-ish to market), thus even though the Varicam LT was 98% of the Varicam S35 but at a cheaper price and a lower size (addressing the two biggest issues of the Varicam S35), there wasn't the strong success of the Varicam S35 to build upon. 

Plus by the time Varicam LT arrived, it was already too late, ARRI had their claws solidly into the higher end market, and the Varicam LT was still too expensive when the likes of the Sony FS7 / Canon C300mk2 did the job well enough for the low/mid budget and were massively cheaper. The Varicam LT just couldn't find a large enough niche to be a huge hit with.

Speaking of the VariCam, I’m honestly shocked that Panasonic haven’t announced a full frame/Large Format version of the camera yet.

1 hour ago, kye said:

As a GH5 owner, I've watched Panasonic gradually improve the colour bit-by-bit with every new camera they've released, and they've really taken it to a nice place now I must say.  The GH5 still gives spectacular images, but I must say that with the colour science improvements of the newer models that the grass is getting greener.  

If I didn't have to spend thousands and/or buy all new glass then I'd be tempted.  Of course, considering I haven't shot anything in the last 18 months due to covid, it'd be hard to justify upgrading from a camera which is ageing rather than wearing out.  I bought the Voigtlander 42.5mm f0.95 and Laowa 7.5mm F2 lenses in 2019 and haven't used them on a trip yet!

Yeah, I was able to make it relatively easier on myself to switch from M43 to L-mount in part because the only native M43 lens I have is the kit lens that came with my G85. The lens kit I built for myself was comprised entirely of vintage SLR lenses from the M42 and Minolta MD mounts and were easily adaptable to the L-mount. I'm currently unable to autofocus with the S1 because of that, for obvious reasons, but then I rarely ever used autofocus with the G85 anyway.

It really is crazy just how much new life Panasonic breathed into the S1 with Firmware 2.0. I've no doubt that we'll see plenty of more advanced models with even better specs come out in the relatively near future, but practically speaking I could absolutely get away with using the S1 as my main camera without upgrading for a good 3-5 years or so. Perhaps even longer once I pick up a Blackmagic Video Assist 12G recorder to utilize the camera's RAW output capabilities.

11 hours ago, Andrew Reid said:

Would have been interesting to see the C70 in there with the dual gain architecture. I think the DR is superior to C500 II on that.

Still only 5-10% better than a $1500 Lumix S1 though. So I would never spend that much on a camera. After GFX 100 and Leica SL2 I will probably never buy a very expensive creative tool again because the depreciation and overkill is really quite upsetting.

Going back to a humble S1 is itself a humbling experience for a $10,000 camera owner.

It really is crazy how great of a value the S1 is, especially used with the V-Log upgrade already installed. 

I went from using a G85 to the S1 and while I've done good work with the former camera, there really is a noticeable difference in capability that the S1 provides. 

On 6/19/2021 at 12:52 AM, MurtlandPhoto said:

Rumor has it that the S1/S1R/S5 will be getting a firmware update next week adding BRAW output from the HDMI port. That to me puts the S line even higher up the list as the best hybrid cameras on the market right now. I'd love to have BRAW out of the USB C port a la the Pocket line though.

I'm going to cheer if Panasonic gives the S1 a firmware update to use BRAW, even if it's just externally. 

On 6/7/2021 at 7:53 PM, Andrew Reid said:

The Rokkors even stand up on medium format.

Damned good glass and best ever for the money.

One of my favourite posts about this:

https://jonasraskphotography.com/2017/08/16/minolta-x-fujifilm/

The later A-mount Minolta autofocus stuff ain't bad either. They really were pioneering trailblazers in the 80s, with lenses like the 35mm F1.4 G

Yeah, I've been building a basic set of Minoltas for awhile now and I swear by them. They never let me down. 

Heck, one of the more memorable films I've seen this year (Identifying Features) was almost entirely shot on a set of vintage Minolta Rokkors! 

And if there's one thing that every review I've read has in common with this film, it's that the cinematography is gorgeous.

On 4/15/2021 at 2:13 AM, Mark Romero 2 said:

Funny story...

At its release, the S5 was a MORE CAPABLE video camera than the S1. 

But with recent firmware updates - if you get an S1 with the V-log upgrade pack - the S1 is more capable than the S5.

My S5 is my everyday work camera (for stills and video).

I am tempted to sell my S1 and get another S5, but the fact the S1 has unlimited 10-internal recording and how has 6k Internal means that I will probably keep it for at least a while. The 6K internal appeals for re-framing shots in post. I rarely "get things right in camera" so the leeway to re-frame in post is really tempting. 

Yeah, I spent the last two months prepping myself to buy a brand new S5, but wound up opting for a used S1 with the V-Log upgrade pack and Firmware 2.0 already installed. I would've been happy either way, I'm sure, but I think if you come across an S1 with all of its bells and whistles already in place, it's generally going to be the better value over the S5.

For me, the biggest tradeoff is that I'm buying the S1 without any native L-mount lenses, its backscreen isn't a normal "flip-out" screen and I'll probably need to buy newer/faster SD cards and a CFExpress Type B card or two. Then again, all but one of my current lenses are all manual focus anyway and I've rarely ever needed to use the flip out screen on my G85 in previous gigs I've done. So really the only real issue I'll be running into for now is just buying new memory cards to better utilize the capabilities of the S1.

I do find it a bit ironic that for all of Panasonic's extra efforts to prop up the S1 and boost its capabilities, the camera's value lies best in buying it used. Buying an S1 new and paying an extra $200 for the V-Log upgrade to go with it just takes the price of the camera up too close to something like the A7S3. And at that point, you're much better off just buying a new S5 at $2000/$2300 with a kit lens. 

I did the math when I bought my S1 and I saved at least $1000 overall in buying the camera used. 

1 hour ago, Lux Shots said:

You won't be disappointed!

It sits nicely alongside my S1H in person and on the timeline.

But I gotta say, I had a friend send me some BRAW from the S1H, and I think I may start cheating on ProRes RAW! 😄

Glad to hear that! I'm hoping Panasonic eventually bring BRAW to the S1 and S5 too, but in the meantime I'm sure I'll be satisfied with the internal codecs the S1 now has. It's a total quantum leap from my trusty G85 that I've been using for the last three years.

Just bought a used S1 with V-Log and Firmware 2.0 already installed. And I gotta say... I am really looking forward to trying this monster out when it arrives!

9 hours ago, MrSMW said:

It's finally arrived.

First impressions, - I really like it, - the size and weight. On my S5 with Smallrig baseplate, it's a moderate weight (a good thing as in not too light) but compact set up and when I think back to my old DSLR Nikon D3S with 24-70mm f2.8... it's a huge amount smaller and lighter and far more capable for stills, never mind video.

1/8th mist going on and then I'll be putting it's through it's paces soon enough.

I can't at this stage see the 24-105mm f4 being here for much longer...

How's the manual focusing? Is it linear and if so, how long is the focus throw?

5 hours ago, Stab said:

I really don't think there is a big market anymore for a GH6 at this point. And that Panasonic agrees.

I mean, the GH5 and GH5-s were about €2000 and €2500 at release and for that money you can now buy an S5 or an S1. Or buy something from Sony or Fuji. Image quality is virtually (for 99% of 'normal' people) indistinguishable between all camera's at that price point. Besides that, 'micro 4/3' sounds small and incomplete. 'Full frame' sounds like an end goal. Finally, you can use the whole, full frame. And it costs the same? And has better performance in low light? And you are an instant professional when shooting with it? I'm pushing it now, I know. I'm just not seeing any advantage anymore. Most of us bought GH-line camera's for the video quality and options that they had. But most of us slapped a speed booster on it to compensate for the 'small' sensor. You could also sell your GH5, get an S5 with an adapter and use your current lenses in aps-c mode. Or even in full frame if they cover that.

So that leaves the only crowd for a GH6:

- People who really love light and small lenses
- People who already own native M43 lenses and want to keep using them

I also sold my GH5 and GH5-S and G7 with speedbooster and got 2x S1 and an S5 in return. Even for anamorphic shooters there isn't really a reason to stick to m43 anymore. The new S-cams have a 4:3 mode which is about 1.33x crop. And every competitor now offers 10-bit recording modes. I mean, I would love it if they could push the boundaries again with a shiny new GH6, but I don't think it makes sense anymore from an economic perspective. Besides above reasoning, there is a pandemic going on and camera-sales are at an all time low. 

So who else, except people who love small and light lenses and or already own a gh5, would the camera appeal to?

Not to mention, as far as I can tell, there hasn't been much in the way of introducing and releasing new lenses for the M43 mount that are unique to the ecosystem either. 

Meanwhile, the full frame lens market is exploding with new glass. Obviously a lot of that is due to certain mounts (L, RF and Z mounts for instance) still being relatively new and their companies are trying to catch up to Sony and the E-mount to flesh out their lineups, but even the E-mount has a lot of new glass coming out these days from third party companies. 

Micro Four Thirds though? Not so much. Obviously there are already plenty of native lenses out there for the ecosystem, but between Olympus folding, as well as the lack of new glass and new bodies from Panasonic, it really does feel like M43 is generally a dead-end at this point. The GH5 and the Pocket 4K seem likely to be the final hurrays. 

On 8/15/2020 at 7:42 AM, Oliver Daniel said:

Lighting is pretty much the most important thing for what we do. It’s what makes your images sing. 

Here’s a bunch of lights I highly recommend:

1. Falcon Eyes F7

Ridiculously awesome light for the price. Everyone should have at least one.  Super bright for a small light. Very useful. Essential. Possibly my favourite right now. 
 

2. Falcon Eyes 24TDX II 

Flex lights are expensive. Not this. Build quality is great. Super useful. Waterproof.  Put anywhere! 
 

3. Luxli Taiko 

In my opinion, better than the Arri Skypanel which is 3-4 times the price. Best colour accuracy I’ve ever seen and very easy to use. Only downside is the power unit. Feels a bit cheap and not long enough. 

4. Godox S30

I think this makes the $3k Dedolight equivalent almost obsolete. For 10% of the price? Super optics for the projection attachment. Downsides are the power goes down to 10w from 30w when using batteries.

5. Colorspike

The light pattern customisation is immense and looks way more organic than preset effects from other lights. An incredible tool. Only downsides is the carry case is a bit “meh” and diffuser is fiddly. 
 

6. Astera Titan Tubes 

These are way more expensive than other mentioned lights. They share some ideas with the Colorspike’s but on a much higher level. These things are insane and worth every penny. I don’t own them but what they can do.... wow!! Downsides... 8 tube case is very very heavy. They are expensive. 
 

What are your current favourite lights? 

I had no idea until I saw this thread that Falcon Eyes had released an updated model on their RX-24TDX and RX-18TD flex lights. Have you ever been able to compare your Mark II model to the older original variants? I've been eyeing one of them for awhile now, so I'm curious if it'd be in my best interest to save up a bit more to get the new models. 

Also could you provide any more feedback on the Luxli Taiko? There's only a handful of videos on that light compared to the new Aputure P300c, and while it'll be quite awhile before I could afford buying either one, I'd love to hear input on which light would be the better option to invest in first.

2 hours ago, Trek of Joy said:

Not sure if this video was posted, scrolling through the last few pages its mostly S1h/Netflix arguments that don't seem to relate to the Sony at all. As to the a7s3, if you need reliable AF, cameras like the Zcams, the Blackmagic's and likely the S1h are not something people are considering, its a completely different type of camera and shooting experience. Nothing is ever going to change that until they have reliable AF. I need AF for my work, none of those will ever be a part of my kit, and I'm obviously not alone. The excitement over this and the R5/6 is because you're combining great IQ with great AF with bitrates that many Sony shooters have wanted for years. Continually injecting cameras like Blackmagic's or Netflix approval into the discussion is just noise. Nobody is buying the a7s3 or a Pocket 4k for that matter to shoot the next season of Ozark. 

You're buying this over other options if you're already invested in the E-mount ecosystem and want the best video option without having to lug around one of the larger FS/FX cameras - or if you want reliable AF for your work.

Bonus the E-mount has the widest selection of native AF lenses that's more comprehensive than all other FF options combined. And with all the 3rd party support combining MF and AF lenses from Zeiss/Tamron/Sigma/Voigtlander/Samyang and others, that gap will keep getting wider. Second bonus if you shoot stills, the E-mount has you covered with a some of the best photo options money can buy.

I put this on my 65" TV, this guy put it through its paces and shot tons of 120p, no surprise since its one of the standout features. Just wish the poster had enabled captions - even YT's sometimes weird autocaption - so we can get a partial translation. But this looks like a proper review.

Chris

 

 

Holy smokes, practically all of the sample footage in that video is stellar. Really hope a translation comes out for this review soon, as I'd love to hear this guy's thoughts in detail on the camera. 

Also, your argument about the advantages Sony has over the competition right now are, for better or worse, spot on. They're just flat-out further along than everyone else in the field when it comes to having an ecosystem of full frame mirrorless cameras and lenses to work with. Not to decry the value of other cameras (the RAW footage of the Sigma fp is genuinely beautiful, and if you're A-okay with APS-C/Super35 only then Fuji is a dream), but unless Panasonic hits the ball out of the stadium soon with vastly improved autofocus on its next generation of L-mount cameras, Sony is likely only going to continue dominating the market for full frame mirrorless.

Just now, Oliver Daniel said:

Besides body design, stills, anamorphic modes and possibly colour - it's better featured and has more lens options. 

But true, if Panasonic sorted their AF in the mk. II, they will be very very hard to beat. 

The problem there is that their existing L-mount lenses are designed for Contrast Focus, so there'd probably still be a growing pains period for Panasonic in transitioning over to Phase Detect. But yes, at this point, they really do need to start to that transition as soon as possible if they want to really seal the deal on the market.

While this camera is certainly interesting and I can see certain advantages in pursuing 12K (though I think 6K and 8K are both already more than enough for most any production), I do kinda agree with people that it feels like the wrong camera for Blackmagic to make and put out there in this particular moment. A full frame 4K or 6K cinema camera would've probably been the smarter call, even if it is the more 'obvious' option.

Went back in DaVinci and fiddled around with the Luminance and Saturation with the built-in ARRI Rec709 LUT. Holy moly, this looks gorgeous.

Here's what I got after just putting DaVinci Resolve's built in ARRI Rec709 LUT on that footage. Looks pretty great to me, though I could maybe try to saturate it a bit more for warmer skintones.

1 hour ago, scotchtape said:

It is amazing how many people cannot fathom needing a camera that can record "all day"... (Well, longer than 30 minutes at least).

"The clip is only on screen for a few seconds, why do you need more than 5 minutes record time" type thinking... Unbelievable.

I was excited for this release but hearing about the limitations, it feels like GM releases a Tesla level car with 50km range. Nice but I can't use this for work.

Hopefully Sony comes through.

 

Not at all, I absolutely get that some videographers will need a camera that's recording one file for an extended period of time. Especially anyone working in wedding videography. And in that regard, the Canon R5 clearly isn't the right fit for that sort of workflow or niche of filmmaker, which I'd say is a big bummer for anyone in that field of work that was looking forward to this camera. That said, by the same coin, not every videographer or filmmaker needs to have a camera recording non-stop. Which is also fine! 

I've personally been using a Panasonic G85 for two years now and it's served me well mostly. One reason I picked it up initially was because it didn't have recording limits for video files, unlike a lot of the alternatives I was looking at within a similar price range. And while that's certainly come in handy a few times, looking back on all of the work I've done in those two years, I rarely ever recorded footage continuously for 30 minutes or longer and the situations where I did are examples where I just as easily could've stopped recording for a bit and then started back up shortly thereafter without missing much of a beat. 

My biggest concern with the R5 personally is the hefty monetary threshold one will have to cross to not only purchase the camera and RF lenses, but also the media cards and readers to be able access the full potential of the camera. That and whatever the rolling shutter might be like. 

1 hour ago, mkabi said:

This is an excellent B-roll camera... If you want to record small file sizes and 8K resolutions.... what production are you even on??? Is the work you doing even worth it?

Get yourself a proper camera for that... you want a hybrid that does it all... get this... frick... all you need is an R6, right? Well this does that and more... so if you cannot afford to get memory cards.... and 20 min is too little... don’t look at this camera. Start looking at the R6. 

In my opinion, I would get this over R6 cause there is some future proofing on the camera itself... I pay one flat fee of $4000 and not worry about upgrading every 3 years (@ $2500 a pop). Use just 4K @ 60 (like most people here want) which it already has... and all you need to do is set it up in the menu... shoot... even docs can live with 1080p for now....When I need 8K in the future... I have it already... longer record times.... may be not, but in the future there would a C100 Mark 5 or 6 with that... and I can still use the R5 as a B-cam.

Yeah, this is exactly why I keep thinking back to the R5 more than any other potential motivator. This is some incredibly solid future proofing for most people and while the initial price of entry is a lot steeper than almost every other alternative I'm contemplating as a potential upgrade from my G85, I can't help but feel like I'd probably save money in the long run by just buying the R5 and sticking with it for an extended period of time, rather than buying several cameras all priced around $2000 each every couple of years. 

32 minutes ago, newfoundmass said:

Depends on whether or not Sony really did redesign the body. I don't know that it'll do 8K raw but 6 or 8K is possible if they have cooling and a larger body. I'd be surprised if it doesn't at least match the S1H, but with Sony's AF. 

 

I dunno, I feel like even if Sony redesigned the body, it'll still probably be too small. They seem very gung-ho about making sure that their mirrorless cameras are smaller, unlike Panasonic, Nikon or Canon who are pumping out cameras that are much closer in size to a DSLR. Though I'm no insider or scooper, so I could absolutely be wrong on the matter. I'd be impressed if Sony go for a bigger body.

Personally I'm not sure what camera I'll wind up going for, be it Canon or no. Personally the overheating issues with the Canon R5 won't be much issue for my personal workflow most of the time. Been using my Panasonic G85 for over two years now and I've rarely ever done videography work that required the camera to be rolling for longer than ten minutes, much less five. Obviously the biggest holdup for the stuff I've been making lately would be the occasional longer interview, but those aren't particularly common for me.

Obviously it seems the R5 is a no-go for anyone specializing in wedding videography or documentary filmmakers with workflows that rely on having the camera rolling non-stop... but I don't think the recording limits get in the way much for narrative filmmakers or filmmakers making music videos. Having been making narrative projects for the better part of a decade now, the only time my co-workers or I have ever recorded multiple takes in a single video file are when we spent several minutes shooting B-roll. And typically I don't imagine most indie-level narrative filmmakers shoot a single take that lasts well over five minutes. Obviously there's exceptions and certain projects where that won't be the case, but it's not the norm. 

Really hope Fuji provide a similar update to the X-T4 (and maybe the X-T3 too) for it to be able to output ProRes RAW externally as they just did with the GFX100 sometime in the near future... assuming it's possible, of course. It sounds as though we're still aways off from getting an X-H2 where such a feature would seem immediately obvious, so it'd make sense to capitalize on the hype towards these two cameras in the meantime by providing them a means to output some sort of RAW video codec. 

Obviously it's not needed, as I've seen plenty of incredible results from the internal 10bit 4:2:0 H.625 codec and the externally outputted 4:2:2 10bit ProRes, but I feel like the presence of a RAW option would help sweeten the pot a bit more for some.

1 hour ago, Andrew Reid said:

There is a Sigma Fp review on YouTube by you know who... "This camera is TERRIBLE"

It is an absolute travesty of justice that it has 105k views whereas Sigma's short film has less than 3000.

It is exactly for this reason I am so reluctant to put any effort into YouTube content myself. I can't compete with all the bullshit.

You have to feel sorry for the director. I think Films are better off in the cinema.

"Sin sin" was going to Cannes before the coronavirus hit.

Better to rise above.

I am proud of my written reviews. Don't care if it's a niche, or if I'm an outsider! Been doing them for 10 years. Why give that up and basically go on a TV shopping channel? My 1D X III YouTube review has about 2000 views - was a complete waste of time

I'd have to embrace advertising and tacky merchandise to make YouTube work financially. And if it worked I'd get a big ego. Besides, it's a real grind and work rate is atrocious - I am not willing to become part of the YouTuber-manager-orchestrated-circle-jerk of established YouTube celebrities.

What bugs me especially about that video is that Caleb's actual review seems to be generally pretty positive and IMO fair when considering that a vast majority of his viewers won't need a full-blown CinemaDNG RAW workflow (though Caleb does suggest a rather straightforward and not particularly straining workflow with the RAW files in the review) and will likely be looking for an easier "Quality of Life" camera to use for their work. The issue is that video title is clickbait-y as hell and rejects the finer nuances of the pros and cons of his actual review. 

As far as I can tell without having had a chance to properly use one myself (yet), the thing with the Sigma FP is that it's basically a super cheap full frame cinema camera brain that also happens to be a very capable stills photography camera, unlike the Blackmagic Pocket 4K and 6K. It wasn't made with the intent of being super convenient across the board and inevitably that's going to turn away a lot of potential customers. We'll have to wait and see if Sigma will aim to make the FP's successor model more convenient in those Quality of Life ways. 

Also as an aside, it would absolutely behoove Sigma to release Sin-sin on Vimeo and soon. Obviously not many people use it, but it still gets some mileage (Matt Reeves used Vimeo to reveal the new Batsuit in a Costume Test footage earlier this year, for instance) and I think anyone wanting to watch the short with the intent of really examining how capable the FP is as an A-camera for a proper cinema production would want to see the footage in a format that presents as few artifacts caused by the site and compression as possible.

Incredible read. I got a good laugh when the author immediately referenced The 400 Blows and Yamanaka-san confirmed that it had been an influence on Sin-Sin, because that movie was the first thing that came to my mind after watching the short. 

Also, holy cow this short was originally set to debut at Cannes. I was already gushing over how great the short was compared to other company shorts made to promote a new camera in one of the other FP threads, but that little nugget of info speaks volumes as to how good it is compared to what else we typically see done to promote these types of cameras. 

Sigma hit a homerun with the cinematic qualities of the FP. While there's definitely a number of things they can do to improve for the next model, I'm very happy to see just how stellar a camera they made with the FP.

30 minutes ago, Simon Young said:

That shortfilm is second to none compared to every ”branding video” I’ve seen made with cameras in this price range. Really impressive.

Yeah, the only short film that I can think of that even begins to compete with it for me is A Different Beyond that Fujifilm used to promote the video capabilities of the X-T3. And that short had Matthew Libatique as the director!

Sigma went all out with this short film. It's a genuinely compelling story being told by a talented filmmaker and cast and crew. The colors coming out of the FP look like something you'd see in a painting. Subtle, but rich.

1 minute ago, Yurolov said:

It's a nice update but most of the criticism still stands. The camera has so much potential because of its size. Putting a monitor on defeats the purpose. So not being able to do Log seems like a missed opportunity to me, along with the lack of internal codec. 

I do hope they come out with a mark II. 

Sigma did seem to confirm that they're working on a new model in that same interview with the site that shall not be named and that they were aiming to continue to improve the autofocus on that model. Pretty vague overall, but it'd be nice if that were to turn out to mean that Sigma might switch over to Phase Detect autofocus at least.

Like I said earlier; Sigma has a beast of a camera already with the FP. They could cause quite a storm in the industry if they implement the various key adjustments here and there that customers are suggesting for the successor model.

So to follow up on that whooping 35 minute short film from Sigma, I just found that they'd released a Behind-the-Scenes video highlighting the crew's experience using the FP for the project and what their thoughts on it were!

Gotta say, if Sigma continue to listen to the feedback they're getting on this camera and keep that in mind moving forward, I cannot wait to see what Sigma's followup camera to the FP will be like. They've got a monster of a camera on their hands, just iron out some quirks here and there and the next model will be insane.

Man, this new firmware update is MASSIVE. Definitely breaths a ton of new life into the FP and fixes a few of the issues that Caleb mentioned in his video! 

However, I feel it's worth noting that Sigma confirmed in a new interview with one of the sites that can't be linked here that they were ultimately unable to create a proper LOG/flat profile for the FP due to technical limitations... So apparently that's not coming any time soon for the camera. Not the end of the world, as I'd wager most filmmakers buying this camera are investing in it for the various RAW codecs it can provide internally and externally. Hopefully though the next model in the FP lineup fixes that issue and provides a LOG profile at launch. 

In cheerier news though, Sigma just released a whopping 35 minute long narrative short film shot entirely on the FP! Unsurprisingly, it looks pretty great.