OleB

So true! The better, yet even more perfect, the cameras are becoming, the less emotions can be felt in their footage. At least in my eyes. Personally, cinema is about diving into another world, which not necessarily resembles reality as close as possible. Most of you already know this, I love the imperfections the SIGMA fp is having. Not overly sharp but pleasing colours. Combined with a good but not ground breaking dynamic range is enough. And from my feelings close to an Alexa. I see the reason for a Burano if you are shooting documentaries i.e. and there I could foresee the features are interesting yet might even be the unique selling point. For a feature film I would opt for something more imperfect, even if money would not be a question at all, which it unfortunately is.

When you are externally recording RAW (BRAW or PRR) "OFF" is hardcoded. Menus are greyed out, so cannot be changed. So avoid using anything else in cDNG recordings would be a good idea I guess. 😉

Think it is using the IMX410, readout mode specs fit, so does the ISO rating and DR distribution. Guess we can assume that you will get the con of a rather slow rolling shutter. Meaning it is still rather similar to the SIGMA fp in terms of image quality. Of course with a much better recording and post production workflow.

Hi all, since I have had a lot of requests to do so, I have created a YouTube series about the LUTs and my SIGMA fp workflow. Maybe that is a little more accessible than just a white paper (although there is now a v3 with updated LUTs included as welll) Here is the link to episode 1. Latest episode is 5. Everything for free of course. 🙂 Maybe you enjoy watching this series. 🙂 If you have questions, let me know. Ole

Yes, actually own the SL2-S as well. Quite nice features and internal codecs. What I don't like though is the highlight / shadow stops distribution. Roughly 3.5 stops over middle grey we see clipping already plus Leica is doing analogue gain, so you cannot redistribute those stops.

I had to get the camera technique out of the way first. Wanted to have a workflow on which I can rely on. Now I have it and am starting to produce footage. Have a lot of ideas. Once the next stuff is ready to show, I will do so here gladly.

Thank you! I was using a 1/8 ProMist filter as well. Did turn out quite pleasing. Actually I have all my findings consolidated in my white paper which I wrote to accompany the LUT. Will film something better lit soon, probably a small series about how to expose and use the fp, to go online at YouTube. My expectation is now met, powerful camera with a solid workflow. If the image looks badly, I can now tell with certainty that it is my fault... 😄

Here we go. 🙂

Thank you! 🙂 Indeed SIGMA fp. 12bit ProRes RAW with my own LUT (shared in the other thread). In this case I have used the iSeries 65mm f2 DG DN. Moving images will follow tomorrow. Have the official release to the restaurant owners scheduled for tomorrow lunch time.

My first production for a restaurant. Was very exciting. Had to go minimal, maximum one light, as the kitchen was quite busy. 🍚

Adding an example which shows the benefit of using the ISO related LUTs and adding a customised contrast 🙂

Very welcome! 🙂 I do not have a Video Assist available, so I cannot tell with certainty. But from my understanding only the Ninja V converts to V-Log on the fly, so the monitoring LUTs are tailored for that. To understand how Braw works, I need to know to which format the VideoAssist is debayering the footage to for preview. Possibly, once we know that, I can compile that workflow to a monitoring LUT for that device afterwards. First question, can the VideoAssist show the full highlight range at ISO 800? Cheers

Hi all and Happy Easter to you 🐰 most you know that I have invested quite some time to get the SIGMA fp "right", came a long journey over trying to understand ProRes RAW, cDNG and applying the ARRI colour scene to footage of it... Ultimately I have worked in the last couple of weeks on own LUTs, which are keeping the colour science of the camera and additionally are mapping the full dynamic range potential of the camera into Rec709. Took a little bit different approach than common, because the LUTs are basically only tone mapping the dynamic range and do not add any further contrast, which in the end leaves a lot more material for grading. They are working with both Final Cut Pro and DaVinci Resolve, so both PRR and cDNG workflows are covered. Below you will find the free download link as Easter gift 🥚 There is an operations guide included as well, which states what the LUTs are doing, plus tips and tricks, some graphics and last but not least, my recommendation in regard to adding contrast. Hope the ones of you who still have this camera will find that useful, it is unlocking quite a bit of potential. Looking forward to hearing your comments, see your footage processed with it. 🙂 Link: https://www.dropbox.com/s/ab2oef3bn3mz1dx/SIGMA fp Rec709 LUT v2.zip?dl=0&fbclid=IwAR1tqT_N3uLbzJeM4s66G1841SFhwLsOxuFjnYtEdBxudYDrRgHMH0g7ig4

Full 6k 3:2 is not possible with cDNG because of the enormous data rates which need to be transferred to the USB-C drive - drives are too slow over USB-C for that. The sensor is natively able to produce something like 3k in 3:2 though, hoping for SIGMA to implement that mode. For the SIRUI 1.6x that would be a perfect match. 😉

For the fp I can answer this. The Sony IMX410 sensor is not capable of outputting 14bit in a high enough frame rate. 19 fps is roughly the maximum. Additionally that sensor only has a 14 bit readout mode for the full sensor. No pipeline for less pixels and faster 14bit …