Scott_Warren

No offense to Crimson Engine, but it's a strange suggestion for people to use an incorrect colorspace as a starting point with a camera that has pretty great color in its own right as Paul has mentioned! (Something can look good with weird settings, but you always want to strive for base technical accuracy + aesthetics in my opinion.)
You might also consider using the ACES pipeline since it has a film print like "look" built into the display chain already. It takes the color matrix built into the DNGs and scales them for output for your monitor without weird translations or conversions except to ACES' own massive color space.
You'd be free to add in a Colorspace Transform node and try out different camera color sciences to see if something else is more to your liking (Alexa, RED, Sony, etc), but I've found it's a quick and repeatable way to get excellent color out of the camera quickly. 
The attached shot was achieved just by dropping in the sequence and pushing exposure and saturation a bit to match to what I saw in person. (Metered the window light with an external incident meter as I tend to do.)

Mr. Yamaki replied again and said the engineers are aware of the flickering issue and are actively working toward a fix. They hope to have it included in the summer firmware release

I'm sorry but where is "Blackmagic" implying that?
If it's me, my only intention is to help some understand how to get the best out of the DNG workflow in Resolve with Sigma FP files. I'm here on my my own time including the weekend to help people, and if my intention was otherwise it would be better for me to let people stumble instead of help and not waste my time. We work with companies like Sigma all the time and I personally think the Sigma FP is a great little camera and told the product manager so a couple of times in person.

I will leave you to it. People know where to find me if they need help.

If you want "all the colour" with no transform, then with DNG's you can select "Blackmagic Design Film" for gamut/colour space (Colour Science Version/Gen 1) and as mentioned that is sensor space with no transform, only what you select for gamma. So it's the colour as the camera has captured it (I say camera rather than sensor since there are no doubt corrections applied before encoding the raw data). As I also mentioned though, this is not suitable for display and the expectation is you will transform it/grade it for monitoring purposes. I believe Digital Bolex recommended this workflow and then provided a LUT to transform from sensor to 709 for their camera back when they were still around. You will still be able to "view" the colour unmodified from the camera though. I'm just stressing (for the benefit of others) that the colour from a digital camera in it's native sensor space is not intended to be displayed this way, so you can't (shouldn't) really judge "hues, saturation", etc.

Some manufacturers like us (and many others) design a "working space" that is generally larger than 709/P3 and ideally a better starting place to manually grade from than sensor space but also not intended for final display. AFAIK Sigma has not done that so your options are either native sensor space or another documented colour space.
I probably wouldn't say "scaling" myself, but yes Resolve will do a standard transform from (sensor to) XYZ to Rec.709 or P3. It's not clipped on the output of this step though so you can still recover data. This is what you would expect to happen if selecting 709 or P3 in the RAW tab.
I'm assuming you are compensating for the change in 709/P3 on the display side here, but whether or not you'll see the differences you're expecting will be influenced all the way from the sensor response and what they do in camera, to right at the end on the display side and how well you can display P3 versus 709.
I work in the camera team (different country to where the Resolve team are based) so my knowledge of the inner workings have come via discussions with them so I don't know 100% either as the code isn't visible to me, but we do develop Blackmagic RAW and the SDK in the camera team (Resolve uses the SDK almost the same as any 3rd party app does) and we share with them the camera colour science information we develop so that they can implement it into their pipelines (DNG and CST/RCM/etc). They don't need to do as much of that now though for our cameras since it's handled in the Blackmagic RAW SDK which we handle from the camera team side.

As for DNG processing, they for the most part follow the Adobe DNG spec when it comes to processing AFAIK https://www.adobe.com/content/dam/acom/en/products/photoshop/pdfs/dng_spec_1.4.0.0.pdf

You may also be interested in looking at the DNG SDK if you can understand code as that will give you an even more clearer idea of how DNG's are/should be interpreted.
https://www.adobe.com/support/downloads/dng/dng_sdk.html

More stills from the progression of the pan. I'd upload a video, but the motion was nothing to write home about. Really just sweeping around finding interesting compositions at random. 
There's something appealing about the behavior of blues and teals using IPP2. It has a certain iciness to it that's hard to describe. 

You start on the import page. Browse your hard drive for the camera footage folder. Open it, then drag all the individual sequence folders on to the Resolve media window.
Resolve automatically creates single continuous clips for you, not hundreds of DNGs.
There are great free tutorials on Youtube - Ripple Training, Avery Peck, Casey Farris, Color Grading Central, The Modern Filmmaker and BMD themselves.
Lot's of get going in Resolve fast type content.
 
It's actually pretty easy to create a graded image without using a LUT.

@imagesfromobjects 
You'd want to browse to the root of where the DNG sequence lives on your drive in the media browser, then either drag it into the media pool or right-click it and Add to the media pool. From the media pool, you would create a new timeline with it and off you go! It's easier to add DNG sequences through the media pool browser instead of manually adding a folder filled with frames where you'd need to select all the frames, then add... it gets tedious after several clips. 
 

@imagesfromobjects
One exercise that helped me get started with Resolve was opening an image in Lightroom and tweaking it to taste, and then opening that same image in Resolve & using the same controls (exposure, contrast, saturation, Hue vs Hue, Hue vs Lum curves, etc.) to try to recreate the same result that I saw in Lightroom. I know that video adjustments tend to exist in their own universe when you dig in to try to make things more technically sound for video compared to a still, but it might be worthwhile to do something similar. 
With that approach, I could still think in terms of editing a still but developed more of a video mindset to how the controls translate differently between stills and video. Curves still largely function the same, though they tend to be more sensitive in Resolve than Lightroom, and instead of using one master stack for operations, you apply them to nodes which can then be re-wired to create different results depending on the flow of the math. I also had experience with the Unreal Engine material editor for years, so node-based editing and order of operations wasn't a huge leap. 

I think @paulinventome 's approach with injecting a DNG into the RED IPP2 workflow is one of the faster ways to get to a solid image that I've seen recently.

More stills from the progression of the pan. I'd upload a video, but the motion was nothing to write home about. Really just sweeping around finding interesting compositions at random. 
There's something appealing about the behavior of blues and teals using IPP2. It has a certain iciness to it that's hard to describe. 

Definitely play around with it, Chris! The highlight roll off control alone allows for range compression depending on what's going on. Kind of seems like a local highlight tonemap operator.
For this shot, I used a Soft rolloff to help the roof lights transition more smoothly into the fog. It's acting like an extra diffusion layer on top of the natural fog scatter. 
 

Some small compensation for the lock down. I've been taking mine out on our daily exercise outside. It's pretty quiet around here outside as expected. Dogs are getting more walks then they've ever had in their life and must be wondering what's going on...
I am probably heading towards the 11672, the latest summicron version. I like the bokeh of it. As you say, getting a used one with a lens this new is difficult.
Have fun though - avoid checking for flicker in the shadows and enjoy the cam first!!
cheers
Paul
 

No offense to Crimson Engine, but it's a strange suggestion for people to use an incorrect colorspace as a starting point with a camera that has pretty great color in its own right as Paul has mentioned! (Something can look good with weird settings, but you always want to strive for base technical accuracy + aesthetics in my opinion.)
You might also consider using the ACES pipeline since it has a film print like "look" built into the display chain already. It takes the color matrix built into the DNGs and scales them for output for your monitor without weird translations or conversions except to ACES' own massive color space.
You'd be free to add in a Colorspace Transform node and try out different camera color sciences to see if something else is more to your liking (Alexa, RED, Sony, etc), but I've found it's a quick and repeatable way to get excellent color out of the camera quickly. 
The attached shot was achieved just by dropping in the sequence and pushing exposure and saturation a bit to match to what I saw in person. (Metered the window light with an external incident meter as I tend to do.)

Mr. Yamaki replied again and said the engineers are aware of the flickering issue and are actively working toward a fix. They hope to have it included in the summer firmware release

I'm happy to do this as i've been emailing for quite a while now but also once we have them collated then we should reach out on twitter as well?
I will probably get a chance tomorrow to do all the tests.
Too busy fixing up bikes for a quick escape to the countryside for some fresh air!
Out of curiosity for those doing very low light 10 bit tests are you very bottom shadow stops quite green? I want to know if this is universal or whether it's just me. It's only 10 bit this happens to.
cheers
Paul

Yea, the first frame brighter happens at ISO's in between 100-400...everything else is fine. Just weird. 
My 2 big grips are the flickering blacks and the audio sync issue...if those 2 issues were fixed...it would be an amazing cam! I still love the IQ out of it...so amazing...even 1080P CDNG's up-rez to 4K beautifully...and it knocks the digital sharpness down a bit do by shooting this way which helps it look more organic. 

I had mentioned this before to them but i didn't have any data at that point.
I will do some tests this weekend. I think collectively we may be able to hammer it down a bit better. I don't like it when things *randomly* differe, it usually means we just don't know the pattern yet.
One thing is to see whether the flickering at different ISOs is uniform across 8,10 and 12 - because i would guess that if there is a bug then it is in that process - from the sensor to DNG.
Also important to see if this is affecting all of us...
cheers
Paul

I reached out to Mr. Yamaki on Twitter again and directed him to the previous page of this thread with everything we've found out so far as well as the capture of the flickering happening in Resolve. Fingers crossed

I reached out to Mr. Yamaki on Twitter again and directed him to the previous page of this thread with everything we've found out so far as well as the capture of the flickering happening in Resolve. Fingers crossed

The sole reason I joined Twitter a few days ago has paid off. Mr. Yamaki replied to my question asking if lens aberration correction would apply to cDNG and .Mov:
 

The fp has some interesting ISO behaviors, certainly!

I've been using it at lower ISOs even in the dark and then pushing things 2.7 stops without major issues. It's truly a form of night vision. Shooting wide open at F1.4 helps as well, but consider this example of a quick night shot I did:
First shot is at ISO 320 pushed 2.7 stops, second shot is ISO 2500 as-is, third shot is ISO 320 pushed 2.7 stops again, and the last shot is ISO 2500 as-is.

The original video file straight out of Resolve can be found here to avoid seeing the recompression macro blocking artifacts from YouTube:
https://www.youtube.com/redirect?q=https%3A%2F%2Fdrive.google.com%2Fopen%3Fid%3D1sEtAlhfZOjfHO7R7XmXrJJvMUiJqRAHC&event=video_description&v=vYpPZPCWo5g&redir_token=-6uwx0ZKXpomIasN7CDyU0Ps-m98MTU4NDAzNTQzNkAxNTgzOTQ5MDM2

Pro tip:  set camera sharpness to the max in the camera when shooting raw, to be able to focus better.
I use this for raw stills and for shooting raw video, it really helps to see the focus area.

Im away at the moment so not had a chance to catch up.
They are aware of the DNG flickering and hope it will be in the next firmware last i heard. 
They've now announced the SDK which could be of massive interest, depending on what access the SDK gives you - for me this *could* be the feature that really propels Sigma out there because they're not protecting a line of cine cameras and if the SDK gives full or wide access to the camera then the possibilities could be endless. On the other hand if, like Sony, it's a limited SDK then that's of less use.
I really want an EVF. I don't mind using the optical VF (gotten used to people looking) but it's bulky for a camera so compact. I was wondering if a better optic would work - like half the size but i've not found anyone that has done that. Or a compact EVF would also work - the smallest i'm aware of is the Zacuto stuff but it's still too big. Anyone found anything of interest?
The Video HDR function seems interesting, i wonder what that is...
cheers
Paul

I wonder if it's a case where people aren't so keen on Sigma's new entry into the cinema camera market since people associate them with slow but gorgeous "weird" cameras? Almost like if BMW were to suddenly decide to make a cell phone

Every modern camera seems to be a great sensor in a box with the differentiation being software at this point, save for the obvious technical advantages of the higher-end cameras. If Sigma can make the fp platform stable, reliable, and consistent, I don't see why they couldn't continue the line well into the future. 

Some of the Magic Lantern Raw apps that process MLV files will also process cdng files to ProRes and they have a lot of features to repair issues with the raw files. I don't really need any of those features so I don't know if any of them will help this issue but they might. I know auto detect black levels is one of the things I tick off when I use Raw Magic... but I don't think that program processes cdng.