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I just updated to V3.0 and wow, what a great update. Every button on the camera is now customisable. With my setup above, changing any settings in the quick menu means moving the VA out the way. But now I can have ISO on the front dial, shutter on the left and right buttons, volume on up and down. Then all the buttons along the bottom can be a whole host of over functions. To top it off, it also gives real 24p UHD cDNG. Jeez. https://www.sigma-global.com/en/cameras/fp/?tab=support&local=firmware

Some picture profiles like S-LOG have a high minimum ISO - say 1600 on some cameras. But that isn't the case with Pro Color and you exposure it as normal. It won't affect the RAW stills, just video and JPEGs. I am working on a version for RAWs, as Sony's RAW presets in Adobe Camera Raw and the Adobe ones don't bring out the best results either a lot of the time!

Well, Sigma France very kindly in the common parlance, 'reached out to me' and asked me if I'd like to test the FP-L and any lenses. So for the last couple of weeks, I have been doing just that. And it's not for me. It has several positives, but far more negatives FOR ME AND MY NEEDS. First of all, I need a camera to either be a pure stills unit, pure video, or hybrid. It doesn't really tick any of these boxes for me and I hoped it would tick at least one. The video specs don't really suit my needs and from a photography perspective, I got banding in low light due to the electronic only shutter. I'm getting ahead of myself however and straight out of the box, it was both bigger and heavier than I imagined. Everyone goes on about how Panasonic's S line FF cameras are HUGE, but I don't find them so and have the biggest of the lot, the S1H. And everyone says how tiny Sigma's FP line is and for me, it was bigger than expected and not much smaller or lighter than the Panasonic S5 with the same lens attached. From that point onward, it really began to fall apart... Handling. Awful. It needs a grip and yes, I am aware there are both native and aftermarket options and I could not imagine using it without one. Lack of tilt screen = fail in my book. I am no fan of fully articulating screens but if I had an FP/L I would at the very least need to look at that aftermarket option in this regard. The side attached EVF. If it was in the centre, in line with the lens, I'd be a fan. Attached to the side, not so and it makes the camera wider and bigger feeling than my S5. The menu. Like any menu system, you would get used to it after a while, but I found it rather infuriating and I did not have this problem when I first picked up a Sony (often criticised for their menus as are sometimes Fuji and Panny but the latter 2 are easily much more intuitive). Stills image quality for outdoor photography. Absolutely stellar, but not enough to win me over. I said the same thing in feedback to Sigma France and that is I wanted to like the camera. Ideally, I'd like to want it enough, or even just find a reason to buy one, but I can't, - it's just too compromised for my needs. FPL-2 for me would need: A mech shutter for stills. Tilt screen. 4k 60p. Centrally mounted EVF. I'd like to see a better menu system, but that would not be a deal-breaker and neither is the lack of a grip, - that is the point of modular in both these regards (grip and EVF). And that's my 'review' of the FP-L. I also had the 65mm f2 in for test and loved it. I used it for both stills and video with my S1H and it produced great results. AF, especially in tracking, was not as good as native Panny, but not utter garbage, in fact, quite useable a lot of the time. But I sit on the fence with whether I will buy one or not as I'm probably going to stick with Panny and their expanding range of f1.8 primes, mainly for the greater range of all f1.8; 24, 35, 50 and 85mm vs Sigma's f3.5 24mm (nope) and 35mm & 65mm f2 pairing (yep). I also have as a side note Sigma's 28-70mm f2.8 and it is excellent for both photo and video although I am going to have to send it in at some point as it's an early serial number and has the ghosting issue in certain light. Final note and that is I like Sigma. A lot. I think they are a great company and offer some really great products, at least in their lens lineup. The FP is probably another generation away for me, but there's always hope... Merci à Renaud de m'avoir donné l'opportunité de tester ces articles !

Emotive Color V5 'SPECTRUM' The V5 'Spectrum' update is ready. The V5 emails are going out now (let me know if you haven't received it). It is the culmination of four years of engine development, and I hope you enjoy! Emotive Color Component ('EC709') EC709 component (Full/Theatrical) rebuilt with new engine, allowing accurate, uniform far gamut projection of Arri display table Arri Rec.2020 now used as the color target (projected within EC709 envelope); results in deeper saturated red and blue that are otherwise clipped in Arri's Rec.709 High Scale is now Full Scale (unlabeled); a direct replacement for LogC+Rec709, with notable advantages (aesthetics and gamut preservation) New Classic 'Soft' and 'Hype' variations (like V3-era 'Soft' and 'Main') Refined natural saturation model Core LogC Fully realized uniform far gamut projection from known lower saturation samples (solves issue that caused saturated orange to twist towards red) New rolloff math; allows grayscale reconciliation of high saturation brightness values (only available for interpolated .cubes; not achievable in Matrix) Added final, fourth calculation pass (post-smoothing), which allows absolute accuracy to known sample points in final render (while retaining smoothness) Corrected an issue that allowed smoothing algorithm to clash with a 'safety lock' on grayscale hue, that could result in red-green banding near the grayscale (especially with 33x under Trilinear Interpolation); now fully smooth regardless of grayscale Misc. New Ceiling Modifier [POST] files; allows variable highlight compression New 'Natural' profile [PRE] for GH5 (shares settings with Cine-D: -5 Sat, 200 Iso) Remade all PREs (picture profiles / exposures) Revised Pdf; Important: DaVinci Resolve - Enable 'Tetrahedral Interpolation' under Project Settings > Color Management > Lookup Tables (allows 65x performance with 33x cubes; complete gradient smoothness - FCPX has this as default) Remade Premiere PREs with new measurements (to reflect 2021 Premiere's improved codec color); no 8-bit VLog or Cine-D PREs needed Significant revision to Premiere Pdf guide; Advanced layering section is no longer relevant, use Lumetri's luma curve (improved significantly) Gradient Test is now 16-bit png (compatible with Premiere) rather than tif Entire Matrix PowerGrade now printed directly from the engine (complete reverse-engineering of .drx format): Precise values entered directly into the curve interfaces, at maximal point density Improved engine gamma accuracy enables significantly improved base matrices New LogC Exposures feature (true exposure gammas extracted from sample data) New 4200K PowerGrade variant If you have any videos or stills you've made that you can share, I'd love to see them! -Alex