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My review of the film: https://www.eoshd.com/news/review-of-the-sigma-fp-4k-raw-film-sin-sin/

Just chiming in for: I kind of despise Kai. Much as he may know his stuff I think he's a classic 'trapped in branding' / 'designer label' / 'I only like the "best" brands' mindset and it shows at least a little, maybe more, in the videos I could be arsed watching from him. Just an annoying attitude and not all that funny. I'm not watching 55 minutes of Gerald Undone metananalysing his own review and the reaction (I managed maybe 15 mins of it) but I would be inclined to say fuck off to any Zcam zealots who care so much about this that they moaned a lot about it, but also by a similar token it's stupid and weird of Gerald to care so much what they think. The more you say "okay wait, let me explain / pls forgive me" to entitled nobodies on the internet, the more they will try to come for you. Now my real reason for posting: I grew to LOVE camera conspiracies guy. Seems a really genuine and genuinely funny guy, self-aware and self-deprecating (and bonus points for getting into youtube vlogging for something actually real compared to other youtubers and audio/visual tech reviewers - his health problems and diets to fix them. Not some "how quick can I monetise and get sent free things" intention). Love his Vegetable conspiracies channel too, he's a weirdo. Example, Kasey from Cam Conspiracies can be seen interacting and being legit nice and friendly in an off the cuff, unscripted way to like homeless dudes who come up on him while filming, I can't imagine it with someone like Kai, he'd probably try to call the cops or something. Kasey's just likeable. More of a true outsider, gives zero weight to all the "I'm a ~filmmaker~ and ~visual storyteller~" pomp and "professional" pretentions out there, takes the hot air out of all that and instead gets into the use-in-anger grittys and gotchas of cameras that many more polished reviewers just don't, no matter how many "I was not paid to give a positive review" statements they throw in.

Logged on and what do I see Yes another topic waylaid by Super8 causing arguments If you keep it up, I will have to do what's best for the forum as an informative tool for filmmakers. And you know what that means.

I think I’m just going to unplug from YouTube and gear related sites during the release of this thing. Not that I’m boycotting anything, but the hype and repeated hype over and over is a bit crazy.

For a two line post about the possible, albeit impressive, spec of the EVF of an as yet unannounced camera, the sheer quantity and absolute earnestness of the comments that have been generated underneath it is mind blowing. People are fucking insane.

Just a little update to my Contax Zeiss journey. I created and sold a set. I ended up with a 25mm 2.8 35mm 2.8 50mm 1.4. I was planning on selling the 50mm and picking up an 85mm 2.8. When I found I buyer for the 50mm, he asked if I had anymore and made me a generous offer for the full set. I think I will build a new set up in the future. A few notes for people who might be picking up a few lenses. 1) DON'T sleep on the 25mm 2.8 MM. I returned the 28mm because it had an aperture issue and saw a good price on the 25mm. This lens has reviewed poorly and doesn't test well on the charts, especially in the corners, but wow what an image! It's bitingly sharp in the centre but does suffer in the corners a bit. It has very good subject separation and pop, pleasing flares and very good close focus. It was a bit of magic, by-far my favourite of the set. 2) The flares across the set are quite consistant and have similar characteristics. It's very easy to cut the lenses together. 3) Treat the 50mm 1.4 strictly as a 2.8. Possibly my least favourite lens of the set. The 50mm 1.4 was dreamy wide open and warmer than the rest of the set. Ive read that earlier versions perform slightly better. Although stopped down to 2.8 and it was very sharp but I tended to gravitate to the 35mm 2.8 and just move a bit closer. Maybe it's my bias as I tend to prefer wider lenses though? Many people love the 50 1.4. 4) I wish there was something fast, affordable and wider than the 25mm. The 21mm would have been perfect but prices on that lens are outrageous. I've read that the Zeiss ZE 21mm 2.8 is the same optical formulae and has almost identical performance, however you lose the aperture ring on the EF version and Focus Direction is reversed on the F version. There is an 18 F4 that would probably be the option I would go for if I was to buy the set again. 18 is about as wide as I would need on S35, you could probably get away with the 25mm as your widest on a larger sensor. 5) I wouldn't recommend a speed booster with these lenses (or any lens actually). Contax Zeiss requires 2 irreversible modifications if you use a regular speed booster or 1 if you use a cine lock version. Ive also noticed just how much speed boosters mess with the image, I very much dislike its effect on lens flares and the distortion it introduces (Tested on 2 different versions of the Metabones XL). They are good at what they are for, but they are not a magic fix-all solution. This process convinced me to sell mine and seek a solution without one. Although I will miss the positive EF mount, that thing is priceless! 6) Mint doesn't mean mint. There is a significant amount of dishonestly in sellers and people selling on behalf of there older relatives who don't know possible issues. Overall I purchased 6 lenses and 3 had to be returned. (Misting, Aperture actuation issue and lumpy focus ring) 7) Don't get too curious and start opening up the lenses, you'll drop a ball bearing on your carpet and it'll be gone forever and you'll have to keep ordering different sizes on amazon until one fits! (1.5-1.8mm will work as a replacement in the smaller MMs) I'm sure i'll pick up some of these lenses again in the future (defo the 25mm again), I do almost regret selling them but I made a bit of profit to put into other areas of my kit.

DPAF simply can not feel the emotion of a scene to tell the story like a 1st AC can. A 1st AC has far more fine detail over control of the focus so he can express what the DoP/Director wants. I can not recall the last time I was on a shoot that used AF. Guess sometime last year, perhaps?? Think there was a small corporate shoot I recall the cameraman using AF. Yes, there are people that use AF a lot, but you can't deny there is a huge amount of work being done that never even thinks to use AF. As not even Canon DPAF is optimal. "Upstream Color" was referenced to illustrate how MFT can do ridiculous levels of shallow DoF. There is no level of DoF in Jaws that MFT couldn't do if you so wished. He could even be an Egyptian dentistry student. Or his grandfather? Thank you. I'm not hiding anything, I'm easy to find/stalk! Thank you :-) Although I am indeed "that audio guy"! haha But also, I think I'm a bit more than "just an audio guy", am probably the most camera nerdy soundie there is. And just to be clear, I carry no ill will or animosity towards you! (or anybody else on this forum) Hopefully you can see I'm just very robustly debating the topic/facts/opinions, and not attacking (or at least, I hope not!) the person themselves. liftgammagain is like jwsoundgroup, in that the vast vast majority of the active users there are full time professionals with years and years of experience behind them. (except, one is colorists, and the other is production sound mixers) Reckon that is why they have the tone each do in their forums. Not sure I'd agree with that, I'd say for your average joe run of the mill working crew member on a film set who is making a good living, then having excellent social skills ranks quite highly. And you should aspire to being as friendly/agreeable/sociable as possible, and not an anti social intolerable asshole. Because networking is key in this industry.

I thought at first it was just Safari refusing to do 4K but yes it is only in 1080p. Wish there was a Vimeo-like site for high quality cinematic stuff, that actually worked.

There is a Sigma Fp review on YouTube by you know who... "This camera is TERRIBLE" It is an absolute travesty of justice that it has 105k views whereas Sigma's short film has less than 3000. It is exactly for this reason I am so reluctant to put any effort into YouTube content myself. I can't compete with all the bullshit. You have to feel sorry for the director. I think Films are better off in the cinema. "Sin sin" was going to Cannes before the coronavirus hit. Better to rise above. I am proud of my written reviews. Don't care if it's a niche, or if I'm an outsider! Been doing them for 10 years. Why give that up and basically go on a TV shopping channel? My 1D X III YouTube review has about 2000 views - was a complete waste of time I'd have to embrace advertising and tacky merchandise to make YouTube work financially. And if it worked I'd get a big ego. Besides, it's a real grind and work rate is atrocious - I am not willing to become part of the YouTuber-manager-orchestrated-circle-jerk of established YouTube celebrities.

I would pay good money to see it!

I think that's possibly to do with the fact that the vast majority of liftgammagain's members are working professionals - many of whom probably know and/or have worked with each other outside of the forum (or might be asking each other for work at some point in the future). I visit the place quite often as there really isn't another resource like it for colour matters.

I think he's being a bit tongue and cheek! I like Caleb. I wish he didn't do the click bait titles, but he pretty much exclusively reviews cameras that he has bought.

My lens owning goal is to use the lenses I have, and also to not use the lenses I have. We still have a trip booked with return flights to Europe in September and we're really hoping they cancel it because "Just don't use them, and forfeit the fare" is higher up on the preference list than "Fly to Europe". I say goal, because at this point in the global pandemic having a plan is ridiculous. In terms of using the lenses I have, I'd like to do some lens tests of the lineup I have, and also maybe do a bit of shooting locally might be nice.

Yeah, Facebook proves people are willing to be as awful under their real names as they are under aliases. Though I do think when someone is being condescending to others and acting as though their experience is more significant/important than others, they should be compelled to show who they are and what they've done, otherwise they're just denigrating others work and experience while hiding behind anonymity. It's not too difficult to see @IronFilm's work/experience, as I subscribe to his YouTube and see him active on Facebook groups, so seeing someone diminish his knowledge and experience by just calling him "an audio guy" really kinda ticks me off.

in Japan...

Those new capsules look fairly interesting. It would be neat if Zoom transitioned to a modular recorder system, without compromising quality, durability and form factor. Being able to just add 4 more XLR's with phantom power, or an ambisonic capsule, is actually pretty cool. They're in a position to make a Zoom F1 sequal that is small enough to be a beltpack recorder, has remote triggering from bluetooth, but can also turn into a recorder with 4-5 XLR inputs when needed. That would be great for people at my budget/skill level who need a swiss army knife for lots of different uses. Since their new capsule can do 4 tracks apparently, it would be nice to see some capsules with, say, two XLRs plus stereo mics, though I don't know how many people would ever use those. I wonder if it's bi-directional? Could they make an output module for live mixing? It seems like they've put some effort into improving their OS as well. Touchscreen control is... not ideal, but moving towards a modern UI with more functionality is a good direction. When they say it's app based, I assume there are no 3rd party apps--but it would be REALLY interesting if they could get a Tentacle Sync app.

@dgvro Resolve can't use AMD hardware acceleration at all on Windows. It just isn't implemented, according to blackmagic forum posts from 2019. So you're stuck with CPU decoding if you're on a Windows system.

Gee, where has the sense of humor gone around here...

Some fair points in this

Well said Andrew. Brilliant review. I so hope everyone gets behind Sigma on this product and their vision. Andrew, I think a review on youtube would really help as there is a current dearth of good reviews out there. Camera hasn't been hyped at all on youtube (some might say that is a blessing).

Yes OK.

Many people here praise the footage coming out from Panasonic S1, especially the 10 bit h265 422 LongGOP @150mbps Is there any chance you could include it in the comparison, as well, @Andrew Reid?

Well this topic went sideways... I thought it was about Olympus and their imminent demise? The problem which exists on a lot of forums etc always seems to come from 'hidden' members who all seem to share the same traits: Weird profile name. No avatar. No profile info. No links to any work, website, social media. Nothing. Folks like you, I don't take seriously. In fact I don't place any merit on anything you say because you could be a school child in your mothers basement, - there is no way of knowing. What is it this type of folks have to hide except perhaps everything? So go spit your dummies out by all means but you are only kidding yourselves if you think you have any credibility on-line. PS: MrSMW = my actual real world name abbreviated.

Is it available anywhere online for a screening, in motion? Movie trailer?

Whenever I read a long thread regarding the merits or shortcomings of the MFT format I'm reminded of a conversation I had with a DP quite a few years ago about Super 35 vs Academy ratio framing. For historical context every VFX heavy movie that was shot on film was typically shot Super 35 with spherical lenses even if its final projected format would be widescreen 2.39. Of the twenty or so films I've worked on that originated from scanned film, only one was shot with Anamorphic lenses even though the vast majority were slated for widescreen delivery. Anyway, the big concern back then was minimizing film grain and had less to do with the depth of field and blurry backgrounds, so you'd typically want to use as much of the negative as possible to reduce the film grain before scanning it. However, in talking with a DP one day, he told me that when a feature wasn't slated for a lot of VFX, they would often just frame the project in Academy Ratio with room on the negative for where the sound strip would go. In this way you would go Negative -> Interpositive -> Internegative -> Print without mixing in an optical pass to reduce the super 35 image into the Academy framing for the projector. The reason for this according to the DP was that the optical pass would introduce additional grain, so shooting S35 was kind of a wash in that you were trading the larger film area of S35 for framing directly for the Academy area on a projector and skipping the optical reduction that introduced more grain than just the steps in making a print. Of course now with cheap film scanning, Digital Intermediates, and of course digital cameras, everyone just shoots using the S35 area. My understanding from the conversation is that if you were shooting something like "Star Wars" that would have a bunch of opticals anyway, you'd shoot S35 even before the days of digital film scanning, but if you were shooting some standard film it was common for the DP to just frame inside the Academy ratio area of the film strip and skip the optical reduction. Is there anyone with more experience than myself with shooting old films that can confirm this? It really has me curious. The reason being is that the Academy Ratio on a projector is defined at 21mm across. While a multi aspect MFT sensor on something like the GH5s is 19.25mm across if you shoot DCI. When you consider projector slop or the overscan on an old TV for the action safe area, the difference in the exposed film or sensor area seen by an audience seems negligible-- and thus the perceived DOF or lack there of between the two formats. Anyway, just wanted to share this, since I have never seen it discussed anywhere. And maybe its just me, but I'm really curious as to whether the vast bulk of films shot from the 1930s and into the 90s were actually using the Academy Ratio area of the negative for framing. Also, hope I'm not derailing the conversation regarding Olympus too much, but as we're discussing the MFT format of Olympus cameras as a possible reason for it's lack of sales, this seemed apropos. https://en.wikipedia.org/wiki/Academy_ratio https://en.wikipedia.org/wiki/Super_35

ProRes is factually a derivative of MPEG-2, that's why it's so light on CPUs. It compensates its old codec technology through high bitrates, thus the generally good quality. h264 and h265 will always be better than ProRes at the same bitrates, provided that a decent codec implementation (with high profile and 10bit color depth) is being used. So the question is whether 400 Mbit/s h265 (in the case of the Fuji XT-4) for 4K/25p video is visually as good as ProRes HQ at 737 Mbit/s for the same resolution and frame rate... EDIT: The real issue with h264 and h265 are not the codecs themselves, but that manufacturers - treating them as consumer codecs - bake all kinds of overdone image processing (aggressive denoising, artificial sharpening, pushed contrasts) into material recorded with them. ProRes, being conversely treated as a "pro" codec, doesn't get those over-processed images. This is why we think that ProRes is better...

It would be funny if this turns out to be, spec-wise, the ultimate vlogging camera.

I wonder if Sony will put S-Cinetone in the A7sIII/H or if they’ll just release a new version of the already weird colors, keeping the tradition of non consistency alive. This matters much more than 8K raw imho.

Solution: Abolish Facebook.

It sounds like you'd be better looking at Nikon Z6 with Fringer EF adapter. It's practically an EOS R6 for autofocus and 4K recording... But dead cheap. Other than that, C200, C500 II, might be options? I did It's just that nobody watched or read it Most Canon users live in a state of constant denial.

That’s a bit sad. Some RED owners unfortunately act like they are part of some elitist cult. On the whole they don’t take criticism lightly. It’s the audience that counts, not the damn camera. Although they’ve created a weird vibe about it recently, Komodo is interesting for sure.

Yeah but the Sony's are 8-bit XAVC non-4K60 UHD cams, A9 doesn't even have log, pixel binning cams have other issues. Always some type of compromise with FF it seems..

32ms RS is definitely not a good number on a +$6K action/sports oriented camera! But it does looks like 4K RS is always on the high end (i.e +24ms) on all these hybrid FF cams. I guess this is an area where APS-C / Super35 still dominates (A6xxx series excluded!).

Had a big gig last Sunday, first time using the 100 - 400 G master. Focus ring was surprisingly not aids. All FS5 @ 240fps in 1080p. Hoping the A7SX gets 240fps in 10 bit like the fs5