imagesfromobjects

As I understand it, using the Color Profile: Off results in correct reading on the waveform when shooting RAW.

Fair points, but I think the only time that you'll see rolling shutter effects is with vehicles and things like tennis balls in flight and so on. I've used the fp for a few toddler events and kittens and whatnot and haven't seen any rolling shutter, so I doubt you'd see it in shots of a fiddler.
 
The banding issue can be mitigated by using shutter speeds that are multiples of 60 (1/30, 1/60, 1/125 etc) in the States or multiples of 50 in Europe. Gets tricky when you are working with mixed lighting or stage lighting, so it would be wise to test out different settings on site to see how it fares.
 

In my opinion the camera industry could learn a lot from the open source community.
Having so many exclusive patents and licenses really hurts the entire industry.
Every single company would benefit from an open source compressed RAW codec.
I think it is also what keeps us from better integration of the external solutions as well. We are never going to progress from a HDMI cables, because as soon as an external recorder connects more directly with a camera body, it probably counts as internal recording and thus violates the RED patent.
It stops more modular designs.
I would love to know what ideas and products RED's patent has killed off and whether this actually makes RED money in the long term.
I don't think it does.
Fair play to Mr Nattress. His work deserves long-term, rich reward.
But come on. It's time to push forward together as one industry.

I know everyone here only shoots raw, but MOV files from the fp have a lot of potential, if not for the moire issues. It is *bad* in real-world usage, especially with foliage or any fine pattern. It disappears COMPLETELY when shooting MOV with the new Color Off mode, so I really believe it is mostly an issue with sharpening being applied in-camera. I thought it may also have been the lack of OLPF, but I can't seem to provoke any artifacts whatsoever when using Color Off, so I'm almost positive it's a sharpening issue.

Which brings us to another v2.1 request: capture raw stills while in Cine mode. Not necessarily while shooting video (that would certainly be resource heavy) but just while switched to Cine.

Just checked it, and bad news, it's JPG only.

Yeah, I'm seeing the white box on all screens. I'm only using legacy lenses (Pentax and Leica M).

Ditto, I'm 99% using M lenses on dumb adapter. Focus box always there in Stills. Disappears in Cine.

Main things for me is a way to shoot braw without attaching a large additional box or monitor, like an SSD. 
Way to lose the white focus box in screen. 
Maybe a hot shoe mounted LCD rather than the bulky and awkward loupe.
 

It seems to be some sort of flat profile now in the Off mode. Desaturated, brings the shadows up.
Definitely seems to be more "Flat profile" than LOG but still interesting to further experiment with.

https://kinotehnik.com/product/lcdvf-bm5-optical-viewfinder/
I use the Kinotehnik optical viewfinder on the smallhd focus oled, its not supposed to work but I made it work.
So now I have a 1080p OLED evf
It is suported to work on the blackmagic 5" 12g

Some people are just down on the FP. That's fine. Obviously people have varying needs and some are just not taken with this camera. It often does read like a statement of fact however. I bought mine slightly used, obviously from a disgruntled early adopter.
I have shot numerous short films using CDNG, 10 bit. Apart from a couple of minor bugs before the last firmware update (early spring). I have not seen any lines or artefacts. It is super easy to import into Davinci Resolve (drag and drop the folders). It is also very easy to grade, despite some disappearing down a rabbit hole of stats and codecs. 
It is a slow camera for stills work. The loupe is bulky, but essential for me as I'm a reading glasses wearer. The screen is a blurred fade in daylight if I try and use it without the loupe.
Agreed, the ISO is one click to the QS menu. I generally decide what my ISO should be for a project and use shutter speed and aperture to expose my pictures from there. back in the day you had to determine the ISO as you loaded a 30 shot film. At least now it's auto-ISO, or a one click menu change.
I do not have any L mount lenses (yet). Last week I shot one of my favourite raw stills ever. I processed it in Capture One. Again, super easy. I just adjusted the levels, added a little contrast and it looked fantastic. I forgot to add any saturation before I exported it, but the colours look lovely (slightly pastel).
I have a Leica Q stills camera, and a BMD Pocket 4K, and for me the Sigma FP matches both in end result. I am enjoying using it easily as much as those two cameras.
I only keep the Pocket 4K for Braw. If there was a very small unit I could record Braw to from the FP I would sell my Pocket 4K.

Just installed and tested the firmware, with the following results:
- CinemaDNG recordings now have proper synchronized audio in Resolve, but Resolve still doesn't recognize them as CinemaDNG sequences, only as DNG stills sequences with attached audio. I.e. it does see them as clips, but only as folders containing DNGs, and you need to recursively import them ("Import folders and subfolders").
This also means that you cannot use Sigma fp's CinemaDNG in the Cut module.
- In stills mode, the 0.1s shutter delay is unchanged. (Which also means the image you see frozen on the display after pressing the shutter is not the image that gets recorded/stored - you can test that by shooting a digital stopwatch.) So I guess this is a hardware issue and unfixable. 😞 

Also, is there anywhere we could start a comprehensive list of current quirks? Something that could easily be referenced by Sigma to hopefully be addressed in future firmware updates. I feel like a lot of stuff has been mentioned here, but it's spread out over 50+ pages...

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.

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
 

Here's two DNG (not FP jpegs), Elmarit 28mm f2.8 lens. First image shot at f8 ISO100, no processing or lens correction, no colour correction in Capture One except tiny exposure balancing. Second is f4 at ISO100, again no correction or processing. Both times focussing at infinity. The f4 looks soft in the corners.
I think my 35mm f2 Summicron is a better lens, and smaller.

No problem at all. There is a bit of conflicting info out there re: wide angle rangefinder lenses on mirrorless, with a few factors. You already know about the sensor glass (and obviously a lot else) so I don't need to go all "101" with this BUT, some of the Sony cameras seem to handle them better than others. The a7S is supposed to be one of the best, whether due to pixel pitch or just by virtue of being lower res, who knows. The 1st-gen a7R was supposed to be the worst, and the a7 somewhere in between. It also very much comes down to one's specific use case, whether the potential tradeoffs are worth it. I ended up with the 11606 after using a quite few other 28's - one of my favorite focal lengths - because of its size, handling, color and tone rendition. I used it happily on the a7S for a year or so, even after reading how "terrrible" it was supposed to be, even on the a7S. So, basically, YMMV, but here are a couple uncropped stills I shot, with no color shade corrections - click for larger versions:



The corners show some cyan, no doubt. Whether its' enough to bother you depends on you. It was pretty much the same on Sigma fp. As for more info, there's some really good stuff in this thread on Fredmiranda.com, relating to specific M lenses on the fp. so maybe peruse at your leisure:

https://www.fredmiranda.com/forum/topic/1619170/0
 
 
 
 
 

 

No problem at all. There is a bit of conflicting info out there re: wide angle rangefinder lenses on mirrorless, with a few factors. You already know about the sensor glass (and obviously a lot else) so I don't need to go all "101" with this BUT, some of the Sony cameras seem to handle them better than others. The a7S is supposed to be one of the best, whether due to pixel pitch or just by virtue of being lower res, who knows. The 1st-gen a7R was supposed to be the worst, and the a7 somewhere in between. It also very much comes down to one's specific use case, whether the potential tradeoffs are worth it. I ended up with the 11606 after using a quite few other 28's - one of my favorite focal lengths - because of its size, handling, color and tone rendition. I used it happily on the a7S for a year or so, even after reading how "terrrible" it was supposed to be, even on the a7S. So, basically, YMMV, but here are a couple uncropped stills I shot, with no color shade corrections - click for larger versions:



The corners show some cyan, no doubt. Whether its' enough to bother you depends on you. It was pretty much the same on Sigma fp. As for more info, there's some really good stuff in this thread on Fredmiranda.com, relating to specific M lenses on the fp. so maybe peruse at your leisure:

https://www.fredmiranda.com/forum/topic/1619170/0
 
 
 
 
 

 

We don't know if this sensor is dual gain but it could be. 
I'd assumed that in the UI you see exposure changing (there's a setting for it to in terms of how fast) and i think there is a persistent bug somewhere in that firmware. In one of my 320 tests i saw not a flicker but a pulse of exposure change. So i think it's something linked to electronic exposure in the firmware.
The screen flicker happened with the original firmware but i still saw it in low light. I don't record MOV so can't confirm that. With MOV you're loosing so much of what this camera can do that IMHO i think it's crazy to do that. And SSD is cheap, and you can use SlimRAW to compress the DNGs as you copy them off the SSD.
But you're most likely right about base iso and compensation, just haven't quite figured out why.
+1 for ISO Wheel in cine mode!
cheers
Paul