Llaasseerr

I had a look at the images of the toy ferrari posted by @Lars Steenhoff . If I bring the 4K DNG and the "none" Mpeg4 mov into Resolve, it actually seems that the mov needs to be treated as Rec709 gamut - not Rec2020 - to fall in line with the way the DNG is being interpreted by the Resolve ACES IDT (unless the DNG metadata is wrong). I would need to check with the exact same frame though, but I'm basing that off the way the red was interpreted.
I'm also seeing the following tags in the mov metadata, but that doesn't mean the actual image doesn't have different primaries.
Color primaries                          : BT.709
Transfer characteristics           : BT.709
Matrix coefficients                    : BT.709
 
 

My bad, I forgot to apply the sRGB output transform to the two darker images. I wasn't able to edit the original post. Here they are uploaded again:
 

Without details from Sigma, here's a quick look at perhaps making sense of footage shot with the new "none" profile, and how they could be used for internal raw monitoring. I grabbed the images from this page:
https://blog.sigmaphoto.com/2020/the-sigma-fp-evolves-firmware-2-0-for-the-cinema-crowd/
I assumed they are linear 1.0 in a rec2020 type of gamut, but that they have had a rec709 curve applied. So I took them into Nuke in an ACES color managed script, and I inverted the rec709 curve so that they are again linear 1.0 gamma. I then transformed the rec2020 gamut to ACES. The default ACES rrt/odt film look is applied, and I rendered out jpegs in sRGB, which I'm attaching here. Of course the highlights are completely clipped, but the midtones can be useful for accurately exposing with a grey card.
I'm not sure if they will display correctly in the browser window, but they look "correct" in Nuke.
EDIT: they look too dark in a Chomium-based browser compared to Nuke, but it may be because my screen is currently set to P3D65. YMMV.
 

Maybe one day Atomos will take the hint about doing a 4K Ninja Star.
Of course with the fp being able to record to an external SSD itself you would imagine it might be unecessary to use a full on external system anyway but I'm guessing this might be the only way to currently deal with RED's patent.

I'm glad they're adding log, but I would only use it for monitoring raw recording. For that, it's crucial. The log image with LUT will then match the RAW image with LUT in Resolve (different input but same output image). 
So as long as:
- They publish the log curve and wide gamut they are using. They need a conventional Cineon/AlexaLogC/ACEScct type of log curve that will hold all the highlight information of the raw sensor.
- It can send a log signal over HDMI so that you can record DNG raw and monitor with a lut on the HDMI log image. If it's sending out raw over HDMI that's quite cool, but as far as monitoring,  you are limited to the Atomos Ninja V vs. every other EVF or external monitor on the market that allows a custom LUT. 
 
As for exposing raw, the only two things you need to think about are:
1. Expose with a grey card and a lightmeter like you are exposing film. You can also use false colour and a grey card but just make sure you're aware of what gamma setting the false colour is expecting, or make your own false colour LUT.
2. Check where the highlights are clipping. If you need to protect the highlights further, then underexpose by 1 or two stops and push by the same amount in post. Use Neat Video to clean up the noise floor if necessary.
Zebras are for a video world. They can be semi relevant for checking highlights in log since it puts everything in a 0-1 range. Again, we need log output for monitoring and if for example shooting for ACES we can put a log to ACES rrt/odt LUT on the camera monitor/EVF and see how the full dynamic range of the highlights are rolling off. Then get the exact same result on the ingested DNG raw images to ACES in Resolve.
 
Log for monitoring raw recording is crucial as it allows any Chinese 8 bit monitor with custom LUT option to display the full raw image dynamic range and get a very close match to what you will see in Resolve with your beautiful DNGs - as long as you have your technical LUTs set up correctly.
Published log and gamut is a MUST though. Sigma, please do a white paper documenting this. This way, we can do a direct correlation with the linear raw image. And allow sending log over HDMI while recording raw.

I succumbed and bought one. 
I will test more fully over the next week. Ergonomically from a stills view it's very much a urgh. No EVF makes life very difficult for me but i do have the VF on order so maybe that will change things.
Cine mode. DNG. It's heaven. This is all you need from a camera. I've side by sided UHD 8bit onto SDXC vs A7sII UHD Slog2/Sgamut and there's no joke. It's almost comical. The low end and the highlights are literally playing in different ballparks. What crushes the A7sII footage is the compression. Simple as that. So that 8 bit UHD is remarkably good. I'm pushing and pulling it and comparing to the same thing shot  FHD in 12 bit and it's incredibly robust - so much more than it should be.
Over the next week i'll push and pull properly. I got it as I needed a lightweight B cam to my Red for a shoot - so i need to intercut and i'll be finding it's comfort zones side by side with everything.
So far the best resolve post in in ACES. My fear with going into any 709 space is that the camera native spectral response will be outside of 709. All Sony sensors push red way out and it's easy to see with bright red subjects. If you don't debayer into a larger colourspace then those reds get clipped or mushed into gamut. I don't know enough about DNG support in Resolve but visually into ACES appears much better. The only other valid option i think is Linear in, certainly none of the BMD Presets as they're for very different sensors.
 
Cheers
Paul

Agreed, slimRAW is a great workaround even if it does add a step to the ingest process. But it's a shame the Sigma probably won't see a lossless or lossy DNG variant that may have allowed 12 bit internal recording. Still, external SSDs are cheap and it allows for fast offloads. I do hope Apple ultimately prevails here though.

Agreed, slimRAW is a great workaround even if it does add a step to the ingest process. But it's a shame the Sigma probably won't see a lossless or lossy DNG variant that may have allowed 12 bit internal recording. Still, external SSDs are cheap and it allows for fast offloads. I do hope Apple ultimately prevails here though.

The Ikonoskop was way too expensive and the D16 had a polarising external appearance and the release firmware was bit flakey (especially compared to the later firmware with Bolex Log), but what a thick beautiful digital negative to work with.   It sometimes feels like we want to make Star Wars Episode V but because of all the latest technological wiz bang gadgets we end up making Star Wars Episode I where we end up spending too much time setting up and playing with everything than focusing on the creativity or art part.

I just updated to Resolve 16 beta and the issue seems to be fixed. All Fujifilm files including HLG are interpreted with the correct matrix. The changelog mentions Fujifilm files but the fix seems to be general, it's seems that the matrix coefficients tag is now respected. The latest Premiere still has issues though.