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I'm more and more pleased with this camera all the time. I recently purchased the 1.5x aivascope anamorphic adapter (amber flare) and, paired with my trusty Helios 44-2, a little black pro mist, and of course that thick V-Log image, this little Easter Weekend run-and-gun lens test I shot last week felt effortlessly cinematic: (this was even before the big firmware 2.0 update, so now I'm even more excited to try out some of the new anamorphic ibis modes and especially that 6k, 3:2 open-gate/full sensor mode.) Also: 12-bit, 5.9k anamorphic Pro Res Raw, anyone?! 🤯 The S1 is going for like $1500 used these days. Absolutely incredible what it's capable of. The best bang-for-buck in the camera world right now 👌🏻

In the YouTube comments “this was the smoothest bloodbath in a while”. On social media slick ninja-like assassins strike again in the middle of the night, and the unfortunate victim always seems to be the Sigma Fp series. In what’s a common theme the original Fp and now the Fp-L, I don’t think many of the social media glitterati get this camera. In the case of Gerald, I don’t think he gave Sigma a fair crack of the whip in at all. New blog post: https://www.eoshd.com/news/why-gerald-undone-is-wrong-about-the-sigma-fp-l/

Saw lots of Iceland volcano footage online lately, reminded me of this shoot. Straight from the source. No color grade. Play guess the camera with this one:

Great article, speaking the truth as usual. As someone who actually creates still and motion imagery, as opposed to just shitty VLOGs, I find the possibility of using the 61mp sensor in a brilliantly designed body together with Leica's L mount lenses and phase detect autofocus very exciting.

Not surprised - as an owner of a G85, I know it's a great camera for the money (and size/weight) but when I bought a G9 I realised what I'd been missing...

(Speaking as an electronics engineer) the turn-on problems sound like the extra 'startup' current drawn by the phantom power circuitry on power-up (if it's on when the XLR module powers up) is 'tripping' some protection system - which then cuts off the power to the XLR module because it thinks it's faulty. 'Staging' the power up by first turning on the module (with phantom power off), then turning on the phantom power probably keeps the peak 'startup' current draw low enough to stop the protection tripping. Unfortunately I think the only way to find out if it's the XLR module or the S5 having a problem is by trying another XLR module or S5.

@tupp Your obsession with pixels not impacting the pixels adjacent to them means that your arguments don't apply in the real world. I don't understand why you keep pursuing this "it's not perfect so it can't be valid" line of logic. Bayer sensors require debayering, which is a process involving interpolation. I have provided links to articles explaining this but you seem to ignore this inconvenient truth. Even if we ignore the industry trend of capturing images at a different resolution than they are delivered in, it still means that your mythical image pipeline that doesn't involve any interpolation is limited to cameras that capture such a tiny fraction of the images we watch they may as well not exist. Your criticisms also don't allow for compression, which is applied to basically every image that is consumed. This is a fundamental issue because compression blurs edges and obscures detail significantly, making many differences that might be visible in the mastering suite invisible in the final delivered stream. Once again, this means your comparison is limited to some utopian fairy-land that doesn't apply here in our dimension. I don't understand why you persist. Even if you were right about everything else (which you're not), you would only be proving the statement "4K is perceptually different to 2K when you shoot with cameras that no-one shoots with, match resolutions through the whole pipeline, and deliver in a format no-one delivers in". Obviously, such a statement would be pointless.

I dont use autofocus so I forgot about that one. I mean, i use my sony a6300 along side my S1 as a gimbal cam and its negligible once graded. The xt4 being 10bit pretty much means that it can look like any camera with enough adjustments. We're definitely in a time were most cameras can get the job done and nobody will ever notice what camera you used.

Spider-Man maybe, but not Batman as there’s zero contrast and good luck with The Flash.

Funny story... At its release, the S5 was a MORE CAPABLE video camera than the S1. But with recent firmware updates - if you get an S1 with the V-log upgrade pack - the S1 is more capable than the S5. My S5 is my everyday work camera (for stills and video). I am tempted to sell my S1 and get another S5, but the fact the S1 has unlimited 10-internal recording and how has 6k Internal means that I will probably keep it for at least a while. The 6K internal appeals for re-framing shots in post. I rarely "get things right in camera" so the leeway to re-frame in post is really tempting.

There is a feature on the S1/S1H/S5 that you can determine which setting carry over from video to photo. This does exactly what you need it to do!

I debated for a long time whether I would get one or another S5. Zero regrets, even with all the firmware updates to the S1. Mostly it was the size (false reports everywhere about how massive it is) though the cost played a part but I bought used (like new) model and in the hands it is near perfect ergo-wise and not heavy at all. And as a non-fan of flippy screens, the tilt that it has is perfect for me. 9/10 overall with just the single point removed as the AF is not on par with the likes of Fuji or Nikon, never mind Canon or Sony. It’s a proper pro piece of kit with the bonus that I can now sell my wedding videos to Netflix 🤑🤩🤔

DOH! Of course I missed it (forgot about it actually). I had it set to auto mode in the movie menu and so that is why I get the shutter speed set to the selection (IE 1/50 for 50p). I also can not change aperture when I use a lens that communicates electronically (like my Canon 17 TS-E). Movie setting choice is page 7 of the (first) camera menu. You can set PASM ias a movie mode different to the PASM mode dial....You have to set the camera to movie on the PASM dial first (the movie mode on page 7 is greyed out otherwise). THEN you can change it (PASM in movie mode). THEN you will get the same shutter speed in either stills or M mode on the PASM dial.

That's very kind of you. I haven't had a look yet, but I hope someone puts them to good use.

Welcome to the world of woke cancel culture. You can't take risks anymore. Can't offend people. Can't say un-PC things. It already destroyed comedy, especially stand-up acts. Used to be college campuses were where this thrived. Now it's shunned. Maybe we'll be able to laugh at ourselves again in another 50 years.

Andrew, you're a smart guy. So I guess you're just pretending not to know the real reason. Welcome to the WOKE SOCIETY. No one is allowed to be different anymore. Free speech? Not any more! Still believe in biology? You MUST be canceled, then. We've come full circle and Galileo is to be locked up in the tower again for daring to be a rebel....a CORRECT rebel at that. So even though the FP and FP-L are in fact amazing cameras we live in a world of little snowflalkes.... but snowflakes that must ALL BE ALIKE.... even though everyone knows no two are alike. Boys can be girls, girls can be boys, but don't you dare praise a camera for being unique. It's the UNwoke camera. Welcome to Alice in Wonderland where things are backwards and upside-down and common sense makes no sense to so many. I ran out and purchased an FP months ago in large part due to your excellent review and praise and it's one of the coolest little cameras I've ever owned. It can be a stripped-down convertible or a laced-up high performance racer depending on how I kit it out. Appreciate your defense of the little guy but they will never "get" it. "They weren't listening then, they're not listening now. Perhaps they never will." - Don McLean