Owlgreen

This the best theory I've heard so far. I had no idea that color-mode "off" affected the cDNGs. I figured it would only affect JPEGs. I used it from day one with the camera just trying to make monitoring a little bit easier. I think Sigma would look silly if anyone in an official capacity put out list of suggested settings which were less than ideal, let alone "ruined the color" coming out of this thing, as some people have suggested. I think, as you're suggesting, they reverse engineered BMD Film Gen 1 and made it all line up. I'm running Davinci YRGB, BMD/BMD Film in Camera Raw, ACES timeline, Rec 2020 PQ output, and getting the best, most accurate-to-my-eye color I've ever seen.

Thank you, I will have to give that a try.

Is it within the realm of possibility that Sigma developed the FP with the BMD Film Gen 1 colorspace and gamma in mind from the start? BMD colorspace & BMD Film gamma in the Camera Raw tab is giving me by far the best results out of everything else I've tried. If it is a fluke that it works so well, then so be it. But it works and they recommend it, so maybe it's not a fluke.

What would everyone suggest as a good way to correct the distortion of the kit 45mm Contemporary lens in Resolve? A Lens Distortion node with a -0.071 value seems OK, but I'm wondering if there's something more precise. Thanks.

At the end of the Cined article on the FP-L was this screenshot of suggested settings for the FP in Davinci Resolve by Sigma themselves. It's dated June 3, 2020. I'm not sure if they've addressed the issue since then.

Thanks, Ole! I wish I'd seen this paper sooner.

I just have the histogram. I saw a video where a guy showed you can pull back around two and half stops of highlights relative to the clip point on the histogram. So if the histogram is unclipped I can increase the exposure by about two stops knowing I can pull it back later. I'm still finding my way around this thing. Given that chart you posted a few days back, would it make sense for me to shoot ISO 800 most of the time, given that I would like to protect the highlights at all costs? I think the noise characteristics of this camera look great, so I don't mind trading noise for more highlight latititude. Should I be using false color?

I'm feeling very frustrated by this camera. I might be spoiled by the BMPCC 6K, but I'm finding it very hard to get anything other than ugly highlight rolloff. This is a matter of taste, I know, but it seems my tastes aren't aligning with this aspect of the camera. Half of the time, in addition to the ugly rolloff, I get a weird pink grid just below the clipping point. This is all in Resolve, however. In Capture One, processing a single frame, it looks better. Even then, the highlights blowout sooner than I'd like. I've tried all the possible Camera Raw options with and without CSTs. So far I like using the BMD colorspace the best. It seems to be the only way I can avoid having a yellow ring around my blown highlights. The noise floor is impressively low, I'll give it that. I guess the only way I'll be happy is to underexpose everything, and never let anything clip. I'm not sure how practical this is. I watched a video comparing the stills capabilities of the FP with a Sony A7something. The FP blew out the highlights earlier and more abruptly, but was less noisy when underexposed. So, I guess you could say they had similar DR, but the FP was kind of shifted to favor the shadows. Maybe by underexposing I can shift it the other way. Until the highlights blow, the camera does look pretty damn good.

That makes sense, thanks Ryan.

Thank you OleB and Ryan. I'm curious why it is not advisable to use a similar workflow but to substitute Blackmagic Design colorspace instead of P30 D60.

I greatly appreciate this camera's size, and commitment to cDNG, but I don't like the way the highlights look when they clip. The transition from not-clipped to clipped looks harsh to me. In a word, I find the highlight rolloff ugly. I hope I am missing something because I really want to love this camera. Is there a way to soften this transition? Thinking out loud, maybe a bit of fake film grain would do the trick. Alternatively, is it practical to shoot with the camera in diverse environments and never let the highlights clip, underexposing at times and then raising midtones and shadows in post when necessary? Is the noise floor low enough for this to look OK? Is there much in the way of unsightly fixed-pattern noise or is it beautifully random? Is there a way to make the highlights beautiful all the time? Maybe shooting ISO 800 would help as it would allocate more of the DR to the highlights while maintaining the maximum DR. (Thank you OleB for the chart) Also, does "highlight recovery" in Resolve just not work with this camera? It often renders the highlights pink no matter what colorspace and gamma I use. In the waveform it looks like there still might be data there, however. What are the best practices when it comes to grading the cDNGs from this camera in Resolve Studio? Timur Civan had a blog about using P3 D60 colorspace in Camera Raw, rather than Blackmagic Design. He then used a colorspace transform as a node in the color tab, I think. It went a bit over my head. What are people here using for colorspace settings in Resolve Camera Raw; P3 D60, or Blackmagic Design? Thanks for your insights.

Thanks MrSMW. When using the S1H, do you find yourself using video modes that aren't available on the S1, or S5 for that matter?

Thank you, PannySVHS. It's a shame the S5 doesn't have the S1's EVF. I'm guessing that using the S1 on a gimbal is no fun at all. Have you tried out ProRes raw to Ninja V recording with the S1? All the internal vs raw comparisons I have seen have been compressed to Youtube so I can't judge the issue properly. I adore raw, but external recorders less so. What are everyone's thoughts on the S1 vs the Sigma FP? Forgetting all the practicality differences, how does the picture compare between the cameras? How's the internal 6k 4:2:0 10-bit of the S1 relative to the 4k cDNG of the FP? And then, how is the 6k ProRes raw from the S1 relative to the 4k cDNG from the FP? Thanks.

I'm looking for a full-frame camera and I value stills and video capabilities equally. On the video side, I am particularly interested in 4:3 shooting, using the full height of the image sensor. Highlight rolloff is important to me. I don't mind noise, but I don't like compression artifacts. I am open to using external recorders like the Ninja V, but not particularly excited to. To those who have used both the Panasonic S1 and S1R, would you say that the 5K 4:3 10-bit 4:2:0 HLG shooting mode of the S1R comes anywhere near the quality of what the S1 is capable of? Can anyone link me to a downloadable clip of the S1R 5K mode? Is it known how the S1R's video frames are achieved? Are they always, other than the 1:1 mode, line-skipped? Would you say that the gulf in image quality is greater between the video modes of the S1 and S1R than the gulf between their still modes? Can anyone point me to some downloadable videos of the S1 showing its maximum video potential? How are the "6k PHOTO" modes on both cameras in comparison to each other? Do they have recording limits, and are they 10-bit? Are there any downloadable samples out there? Thanks for your insights.

Are there any new users of the Steadxp? Some of the results impress me greatly. Seems like a cumbersome workflow, but very possibly worth the trouble. Too bad it can't input and output Braw. Anyone looking to sell their device?

These shots look great. What do you make of the 645 lens plus telecompressor vs a faster lens? 55mm f2.8 x 0.7 is about like 40mm f2.0. Do you think it's worth the trouble to adapt the Mamiya 645 glass? Are you finding this adapter to introduce either barrell distortion? How's the sharpness when you stop down? Regardless, I like it.

Can someone tell me about the specs of the 180fps mode on the S1? Is manual exposure possible now? Is it 10-bit 4:2:2 1080p? What's the max bitrate and recording time? How do you think the quality compares to the XT-4s 200fps and 240fps? Thanks!

Thanks, guys! I'm leaning towards the 1dxii over the 4.6k for its general usability, but great highlights are a big deal. Ideally I'd shoot super-16, but it's not practical for me right now. Nonetheless, filmic highlights, saturated colors, and filmic noise/grain in a digital format is precisely what I'm after. How's the noise on the 4.6k? Does it suffer from fixed pattern noise? As per the 1dxii, would it be a winning strategy to always protect the highlights, and raise the shadows as necessary in post, knowing the noise floor is very low? Would this betray issues owing to the 8-bit codec?

Hi everyone, I'm considering either the Ursa mini 4.6k or the 1dxii for run and gun filmmaking purposes. It seems they have a comparable rolling shutter speed when shooting 4K, namely 14-15ms. The Ursa has phenomenal highlights, while the Canon has impressive low light abilities. The Dual pixel AF on the Canon seems a godsend. Overall, each camera has its strengths, and they're hard to compare, but I'm trying to do so anyway. What I you all think? Can anyone comment on the DR and highlight handling of the Canon? Thanks!