Comprehensive Sigma Fp first impressions and interview – Cinema DNG RAW internal recording!

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There were two highlights of IBC 2019 for me. The Sigma Fp, and the Z-CAM range. From the ground-up the Sigma Fp seems to be aimed at us, at artists. A small and incredibly light camera that hits the big full frame notes, some of the niche features like the digital director’s viewfinder are unheard of in consumer full frame cameras from major manufacturers.

This is clever and will get the camera a lot of use by top-flight talent. Most exciting for me is the focus on the video recording features – which are big step for Sigma and indeed push the boundaries of what we expect from a “prosumer” camera.

  • Cinema DNG RAW 4K 12bit to USB C SSD media
  • Internal 1080p 12bit internal RAW Cinema DNG uncompressed
  • Internal 4K RAW uncompressed (bit-depth drops to 8bit at the moment)

Read moreComprehensive Sigma Fp first impressions and interview – Cinema DNG RAW internal recording!

Jinni Tech claims RED Compressed RAW patent filing is invalid

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It’s common knowledge in the camera industry that RED owns an important patent for a cinema cameras featuring compressed RAW.

Now British third party accessory manufacturer Jinni Tech alleges RED “deceived the US patent office” and filed the critical patent late.

Read moreJinni Tech claims RED Compressed RAW patent filing is invalid

Sigma FP announced, palm sized FULL FRAME camera with 4K 12bit Cinema DNG RAW!!

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Sigma has surprised us all and announced a hybrid Cine/Stills full frame L-mount camera. Rather than the Foveon sensor Sigma traditionally uses, this one has a 24 megapixel full frame BSI CMOS sensor (likely the same as the Panasonic S1 and Nikon Z6).

Read moreSigma FP announced, palm sized FULL FRAME camera with 4K 12bit Cinema DNG RAW!!

Blackmagic Pocket 4K – why I am staying with the Cinema DNG firmware

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(415 pages and 1 million views on just one thread!)

Something for Blackmagic to look into here on the EOSHD Forum thread for the Pocket 4K. Anecdotal evidence say the camera is suffering from macro-blocking and banding in blue skies which you don’t expect to see with a 10bit codec let alone a RAW codec. Since the BRAW codec update, various users have been claiming it’s a backward step for the film-look of lossless Cinema DNG raw.

Read moreBlackmagic Pocket 4K – why I am staying with the Cinema DNG firmware

First sample video from the new KineMINI 4K – image quality looks impressive

These images (download the original 4K file at Vimeo to get even a clue of the full performance of the camera) are rather lovely. I’m also very impressed with the 2K slow-mo at 96fps. It is an improvement on the KineRaw MINI from last year which only shot 96fps at 720p, though there is still some moire and aliasing at the higher frame rate.

Read moreFirst sample video from the new KineMINI 4K – image quality looks impressive

Kinefinity KineRAW MINI review

Aside from Blackmagic there’s only one other company endeavouring to give us affordable cinema cameras at the moment and that’s Kinefinity. The MINI is a smaller cut down version of their S35, shooting 2K uncompressed raw to SSD from a Super 35mm sensor. It has an option for 4K to an external record (Q1 2014) and it’s a powerful piece of kit, though I have some reservations about usability.

Is the KineRAW MINI the early stages of a new Arri? A Chinese cinema camera industry?

Read moreKinefinity KineRAW MINI review

Introducing the EOSHD Film LUT (for 5D Mark III raw and Resolve 10)

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For the full guide to the world of raw video on the 5D Mark III – order the EOSHD Shooter’s Guide book by Andrew Reid

With the new version of Blackmagic DaVinci Resolve (10.0) you can grade and edit 5D Mark III raw DNG sequences, with image quality at the Adobe Camera Raw level for the first time and performance through the roof.

EOSHD Film LUT is an instant cinema style which quickly and easily improves the look of 5D Mark III raw video in Resolve 10. No grading skills required.

This LUT gives you a more film-like image, a less harsh electronic look compared to the standard Rec.709 colour space and default settings. It gives you more detail in the highlights and a smoother more natural feel to colour.

Read moreIntroducing the EOSHD Film LUT (for 5D Mark III raw and Resolve 10)