rawshooter

Now that I have an DCC8 dummy battery clone, working just fine with the Sigma fp, a question to other camera owners:
Is there a way of safely and reversibly removing the battery compartment door of the camera?

It's even more than that - RED's patents cover any form of compressed RAW video, including externally recorded RAW. Atomos pays major $$ to RED for being able to put (compressed) ProRes RAW into its recorders:
https://www.atomos.com/press-releases/atomos-and-red-are-pleased-to-announce-a-royalty-based-licence-agreement

It's even more than that - RED's patents cover any form of compressed RAW video, including externally recorded RAW. Atomos pays major $$ to RED for being able to put (compressed) ProRes RAW into its recorders:
https://www.atomos.com/press-releases/atomos-and-red-are-pleased-to-announce-a-royalty-based-licence-agreement

They did - patent exchange/cross-licensing. This is why the RED Komodo will have an RF mount and phase-detection autofocus.

They did - patent exchange/cross-licensing. This is why the RED Komodo will have an RF mount and phase-detection autofocus.

DeepL with its scarily good machine translation AI (which isn't know yet to most American website operators like FujiRumors since it's a European website) probably renders the original Japanese interview better:
 
Translated with https://www.deepl.com/translator
 

DeepL with its scarily good machine translation AI (which isn't know yet to most American website operators like FujiRumors since it's a European website) probably renders the original Japanese interview better:
 
Translated with https://www.deepl.com/translator
 

This is an interesting bit in the current times - that the fp can act as a standard webcam via its USB-C interface and be used for live streaming and teleconferencing without any extra hardware.
So here comes the question: To do that, one would normally power the camera from an AC adapter - which is not included in the standard camera package. Sigma offers the SAC-7P as an extra camera accessory which consists of an AC adapter + a dummy battery for the camera. But it costs around $/EUR 80 and is hardly in stock anywhere.
Since the Sigma fp's BP-51 battery is principally the same as Panasonic's DMW-BLC12 (yeah, the same battery as in the good old GH2...), I wonder whether one couldn't just buy a Chinese third-party BLC12 dummy battery + AC adapter which are readily available on a number of web shops (Amazon, AliExpress...) for only about $/EUR 28.
This of course would be handy for other shooting situations, too. And since some of those BLC12 third-party dummy battery adapters work with USB power, this would mean that one should be able to power the fp with USB power banks!
It sounds good in theory, but I wouldn't want to brick my camera if it doesn't work in practice...
Has anyone here tried this out yet?
 

Interesting breakdown of how the Sigma fp's material behaves in Resolve and Premiere.
1st video: first available-light event documentary that I've seen made with the camera.
2nd video: first corporate video I've seen made with the camera.

Interesting breakdown of how the Sigma fp's material behaves in Resolve and Premiere.
1st video: first available-light event documentary that I've seen made with the camera.
2nd video: first corporate video I've seen made with the camera.

With all due respect, the matter is more complicated:
DNG (whether stills DNG or CinemaDNG) contains internal color matrixes. If a camera manufacturer doesn't provide raw specifications - like Sigma unfortunately does - then Raw developing software (no matter whether it's Lightroom, RawTherapee, Resolve, After Effects...) just interprets the raw DNG data based on the internal color matrixes. That is not optimal but works good enough for photographers who usually work in the sRGB or in the AdobeRGB color space.
However, as film people, we're now used to work in wider color spaces - making proper use of the 10bit/OLED/DCP etc. screens that increasingly replace legacy 8bit/Rec709 HDTV - such as Aces, P3, Rec2020. 
However, this is the point where DNG without additional camera manufacturer support fails, and where NO software, no matter whether Resolve or anything else, can properly figure out how the RAW color values should be interpreted.
So, in this case, it's upon Sigma to step up and help manufacturers across the board (no matter whether Adobe for AfterEffects, Blackmagic for Resolve, Assimilate for Scratch, Apple for FCPX...) and share information about the fp's native color space if they want to promote the fp as a serious cinema camera.
Otherwise, we can't really make use of the full color spectrum captured by the fp, but will be limited by the Rec709 color space even when grading RAW.

With all due respect, the matter is more complicated:
DNG (whether stills DNG or CinemaDNG) contains internal color matrixes. If a camera manufacturer doesn't provide raw specifications - like Sigma unfortunately does - then Raw developing software (no matter whether it's Lightroom, RawTherapee, Resolve, After Effects...) just interprets the raw DNG data based on the internal color matrixes. That is not optimal but works good enough for photographers who usually work in the sRGB or in the AdobeRGB color space.
However, as film people, we're now used to work in wider color spaces - making proper use of the 10bit/OLED/DCP etc. screens that increasingly replace legacy 8bit/Rec709 HDTV - such as Aces, P3, Rec2020. 
However, this is the point where DNG without additional camera manufacturer support fails, and where NO software, no matter whether Resolve or anything else, can properly figure out how the RAW color values should be interpreted.
So, in this case, it's upon Sigma to step up and help manufacturers across the board (no matter whether Adobe for AfterEffects, Blackmagic for Resolve, Assimilate for Scratch, Apple for FCPX...) and share information about the fp's native color space if they want to promote the fp as a serious cinema camera.
Otherwise, we can't really make use of the full color spectrum captured by the fp, but will be limited by the Rec709 color space even when grading RAW.

Naah, it's the opposite - Sigma doesn't provide a Log profile and corresponding color space yet (we have to wait till firmware 2.0 in summer), and doesn't provide any LUTs, Aces IDTs or other transformation functions for the fp's CinemaDNG so that in the meantime, we're limited to grading the material in Rec709 although the camera has a wider gamut/more color.
It's likely because Sigma doesn't have any previous experience with video and digital cinema while the stills photography world still lives in sRGB (=almost the same as Rec709) or Adobe RGB at best, and thinks that paper prints (with their 5 stops dynamic range) are the Nirvana of image quality...

Btw., the limitations and guesswork regarding the right color spaces for the CinemaDNG recorded by the Sigma fp apply to any software that can process CinemaDNG...

Btw., the limitations and guesswork regarding the right color spaces for the CinemaDNG recorded by the Sigma fp apply to any software that can process CinemaDNG...

1. Sigma fp + Lomo OKC 4-28-1 (28mm T2, Super 35mm/APS-C).
2. Working as a teacher at a design school + photographer + video maker.
3. Since this site is based in the UK, I'll list my favorite British music: Daphne Oram, Brian Eno, The Pop Group, favorite sport: boxing, with huge nods to Tyson Fury and Anthony Joshua. Otherwise, privileged that my job is my hobby and vice versa. 
4. Hopes for EOSHD: I most appreciate DIY/self-help/community mutual help coverage and discussions. The current thread on the Sigma fp (and how to work around its quirks) is a brilliant example, as is the thread on shooting RAW video on the EOS-M. My hope for the future of EOSHD is to further explore this direction. IMHO, progress in camera technology is slowing down, and we are almost "there".  (For example, a mirrorless camera with an s35 sensor, clean 6400 ISO, good IBIS, good video autofocus, good color science, good manual controls, internal 10bit log + RAW recording would basically be "it"; which means that a camera like the Fuji X-T4 is 95% "there".) At some point, it might become more exciting to max out existing, cheaply available technology, than wait for the next great camera to come out. The EOS-M with MagicLantern Raw is a brilliant example.
5. There's better food, better climate, better street manners and now even better public services (transport, health...) in other parts of the world than in the Northern European country where I live; and as the Corona crisis shows, maybe generally smarter societies. (I'm particularly thinking of high-tech Asian countries such as Taiwan and South Korea.) But what I do miss elsewhere is my local arts community, aside from living in a stable part of the world with lower political threats/risks than elsewhere.
6. Must have been in 2013 when MagicLantern's RAW video recording on the Canon EOS 50D was reported here.
 

1. Sigma fp + Lomo OKC 4-28-1 (28mm T2, Super 35mm/APS-C).
2. Working as a teacher at a design school + photographer + video maker.
3. Since this site is based in the UK, I'll list my favorite British music: Daphne Oram, Brian Eno, The Pop Group, favorite sport: boxing, with huge nods to Tyson Fury and Anthony Joshua. Otherwise, privileged that my job is my hobby and vice versa. 
4. Hopes for EOSHD: I most appreciate DIY/self-help/community mutual help coverage and discussions. The current thread on the Sigma fp (and how to work around its quirks) is a brilliant example, as is the thread on shooting RAW video on the EOS-M. My hope for the future of EOSHD is to further explore this direction. IMHO, progress in camera technology is slowing down, and we are almost "there".  (For example, a mirrorless camera with an s35 sensor, clean 6400 ISO, good IBIS, good video autofocus, good color science, good manual controls, internal 10bit log + RAW recording would basically be "it"; which means that a camera like the Fuji X-T4 is 95% "there".) At some point, it might become more exciting to max out existing, cheaply available technology, than wait for the next great camera to come out. The EOS-M with MagicLantern Raw is a brilliant example.
5. There's better food, better climate, better street manners and now even better public services (transport, health...) in other parts of the world than in the Northern European country where I live; and as the Corona crisis shows, maybe generally smarter societies. (I'm particularly thinking of high-tech Asian countries such as Taiwan and South Korea.) But what I do miss elsewhere is my local arts community, aside from living in a stable part of the world with lower political threats/risks than elsewhere.
6. Must have been in 2013 when MagicLantern's RAW video recording on the Canon EOS 50D was reported here.
 

1. Sigma fp + Lomo OKC 4-28-1 (28mm T2, Super 35mm/APS-C).
2. Working as a teacher at a design school + photographer + video maker.
3. Since this site is based in the UK, I'll list my favorite British music: Daphne Oram, Brian Eno, The Pop Group, favorite sport: boxing, with huge nods to Tyson Fury and Anthony Joshua. Otherwise, privileged that my job is my hobby and vice versa. 
4. Hopes for EOSHD: I most appreciate DIY/self-help/community mutual help coverage and discussions. The current thread on the Sigma fp (and how to work around its quirks) is a brilliant example, as is the thread on shooting RAW video on the EOS-M. My hope for the future of EOSHD is to further explore this direction. IMHO, progress in camera technology is slowing down, and we are almost "there".  (For example, a mirrorless camera with an s35 sensor, clean 6400 ISO, good IBIS, good video autofocus, good color science, good manual controls, internal 10bit log + RAW recording would basically be "it"; which means that a camera like the Fuji X-T4 is 95% "there".) At some point, it might become more exciting to max out existing, cheaply available technology, than wait for the next great camera to come out. The EOS-M with MagicLantern Raw is a brilliant example.
5. There's better food, better climate, better street manners and now even better public services (transport, health...) in other parts of the world than in the Northern European country where I live; and as the Corona crisis shows, maybe generally smarter societies. (I'm particularly thinking of high-tech Asian countries such as Taiwan and South Korea.) But what I do miss elsewhere is my local arts community, aside from living in a stable part of the world with lower political threats/risks than elsewhere.
6. Must have been in 2013 when MagicLantern's RAW video recording on the Canon EOS 50D was reported here.
 

1. Sigma fp + Lomo OKC 4-28-1 (28mm T2, Super 35mm/APS-C).
2. Working as a teacher at a design school + photographer + video maker.
3. Since this site is based in the UK, I'll list my favorite British music: Daphne Oram, Brian Eno, The Pop Group, favorite sport: boxing, with huge nods to Tyson Fury and Anthony Joshua. Otherwise, privileged that my job is my hobby and vice versa. 
4. Hopes for EOSHD: I most appreciate DIY/self-help/community mutual help coverage and discussions. The current thread on the Sigma fp (and how to work around its quirks) is a brilliant example, as is the thread on shooting RAW video on the EOS-M. My hope for the future of EOSHD is to further explore this direction. IMHO, progress in camera technology is slowing down, and we are almost "there".  (For example, a mirrorless camera with an s35 sensor, clean 6400 ISO, good IBIS, good video autofocus, good color science, good manual controls, internal 10bit log + RAW recording would basically be "it"; which means that a camera like the Fuji X-T4 is 95% "there".) At some point, it might become more exciting to max out existing, cheaply available technology, than wait for the next great camera to come out. The EOS-M with MagicLantern Raw is a brilliant example.
5. There's better food, better climate, better street manners and now even better public services (transport, health...) in other parts of the world than in the Northern European country where I live; and as the Corona crisis shows, maybe generally smarter societies. (I'm particularly thinking of high-tech Asian countries such as Taiwan and South Korea.) But what I do miss elsewhere is my local arts community, aside from living in a stable part of the world with lower political threats/risks than elsewhere.
6. Must have been in 2013 when MagicLantern's RAW video recording on the Canon EOS 50D was reported here.
 

1. Sigma fp + Lomo OKC 4-28-1 (28mm T2, Super 35mm/APS-C).
2. Working as a teacher at a design school + photographer + video maker.
3. Since this site is based in the UK, I'll list my favorite British music: Daphne Oram, Brian Eno, The Pop Group, favorite sport: boxing, with huge nods to Tyson Fury and Anthony Joshua. Otherwise, privileged that my job is my hobby and vice versa. 
4. Hopes for EOSHD: I most appreciate DIY/self-help/community mutual help coverage and discussions. The current thread on the Sigma fp (and how to work around its quirks) is a brilliant example, as is the thread on shooting RAW video on the EOS-M. My hope for the future of EOSHD is to further explore this direction. IMHO, progress in camera technology is slowing down, and we are almost "there".  (For example, a mirrorless camera with an s35 sensor, clean 6400 ISO, good IBIS, good video autofocus, good color science, good manual controls, internal 10bit log + RAW recording would basically be "it"; which means that a camera like the Fuji X-T4 is 95% "there".) At some point, it might become more exciting to max out existing, cheaply available technology, than wait for the next great camera to come out. The EOS-M with MagicLantern Raw is a brilliant example.
5. There's better food, better climate, better street manners and now even better public services (transport, health...) in other parts of the world than in the Northern European country where I live; and as the Corona crisis shows, maybe generally smarter societies. (I'm particularly thinking of high-tech Asian countries such as Taiwan and South Korea.) But what I do miss elsewhere is my local arts community, aside from living in a stable part of the world with lower political threats/risks than elsewhere.
6. Must have been in 2013 when MagicLantern's RAW video recording on the Canon EOS 50D was reported here.
 

1. Sigma fp + Lomo OKC 4-28-1 (28mm T2, Super 35mm/APS-C).
2. Working as a teacher at a design school + photographer + video maker.
3. Since this site is based in the UK, I'll list my favorite British music: Daphne Oram, Brian Eno, The Pop Group, favorite sport: boxing, with huge nods to Tyson Fury and Anthony Joshua. Otherwise, privileged that my job is my hobby and vice versa. 
4. Hopes for EOSHD: I most appreciate DIY/self-help/community mutual help coverage and discussions. The current thread on the Sigma fp (and how to work around its quirks) is a brilliant example, as is the thread on shooting RAW video on the EOS-M. My hope for the future of EOSHD is to further explore this direction. IMHO, progress in camera technology is slowing down, and we are almost "there".  (For example, a mirrorless camera with an s35 sensor, clean 6400 ISO, good IBIS, good video autofocus, good color science, good manual controls, internal 10bit log + RAW recording would basically be "it"; which means that a camera like the Fuji X-T4 is 95% "there".) At some point, it might become more exciting to max out existing, cheaply available technology, than wait for the next great camera to come out. The EOS-M with MagicLantern Raw is a brilliant example.
5. There's better food, better climate, better street manners and now even better public services (transport, health...) in other parts of the world than in the Northern European country where I live; and as the Corona crisis shows, maybe generally smarter societies. (I'm particularly thinking of high-tech Asian countries such as Taiwan and South Korea.) But what I do miss elsewhere is my local arts community, aside from living in a stable part of the world with lower political threats/risks than elsewhere.
6. Must have been in 2013 when MagicLantern's RAW video recording on the Canon EOS 50D was reported here.
 

1. Sigma fp + Lomo OKC 4-28-1 (28mm T2, Super 35mm/APS-C).
2. Working as a teacher at a design school + photographer + video maker.
3. Since this site is based in the UK, I'll list my favorite British music: Daphne Oram, Brian Eno, The Pop Group, favorite sport: boxing, with huge nods to Tyson Fury and Anthony Joshua. Otherwise, privileged that my job is my hobby and vice versa. 
4. Hopes for EOSHD: I most appreciate DIY/self-help/community mutual help coverage and discussions. The current thread on the Sigma fp (and how to work around its quirks) is a brilliant example, as is the thread on shooting RAW video on the EOS-M. My hope for the future of EOSHD is to further explore this direction. IMHO, progress in camera technology is slowing down, and we are almost "there".  (For example, a mirrorless camera with an s35 sensor, clean 6400 ISO, good IBIS, good video autofocus, good color science, good manual controls, internal 10bit log + RAW recording would basically be "it"; which means that a camera like the Fuji X-T4 is 95% "there".) At some point, it might become more exciting to max out existing, cheaply available technology, than wait for the next great camera to come out. The EOS-M with MagicLantern Raw is a brilliant example.
5. There's better food, better climate, better street manners and now even better public services (transport, health...) in other parts of the world than in the Northern European country where I live; and as the Corona crisis shows, maybe generally smarter societies. (I'm particularly thinking of high-tech Asian countries such as Taiwan and South Korea.) But what I do miss elsewhere is my local arts community, aside from living in a stable part of the world with lower political threats/risks than elsewhere.
6. Must have been in 2013 when MagicLantern's RAW video recording on the Canon EOS 50D was reported here.
 

Now, Photokina has been cancelled...
https://www.fujirumors.com/photokina-2020-canceled-due-to-coronavirus-outbreak-and-postponed-to-may-2022/

In the early 2000s, the British experimental filmmaker John Smith made a series of videos made in hotel rooms, each of them shot in only one of them:
He also made this brilliant 16mm film in London, in 1976:
 
 

In the early 2000s, the British experimental filmmaker John Smith made a series of videos made in hotel rooms, each of them shot in only one of them:
He also made this brilliant 16mm film in London, in 1976: