I'm new to the sigma fp line, and i find it really easy to use in both stills and cine mode, a tool is a tool and the operator is what make the tool work, in the operator's creative path, following trends can lead you to favoring tools rather than your actual creative work. Creativity is the KEY no matter the tools.
Honestly most camera options in the $2-4k range are more than capable right now. In my opinion theres no reason to hold digital to a higher standard than old film cameras are held to. Sometimes the image is imperfect and thats fine, as long as its good enough to tell the right story and create the right mood. Hope your next film goes well, I think the effort you put into it will come through no matter what camera its shot on
Dude. 12 minutes into a Sigma FP review you mention it for the first time. After that you are talking looking at heavy line skipped 1080p with tons of aliasing artefacts and talk about a roll off. Mind it records the raw image with no profile and it will have roll off dependant on the gamma curve applied in post. After that you look at images how you exposed them and say something is clipping. To see if it’s clipping you would need to try to pull something out of it. 🤦🏻
@@LiveMyJourneyTom first of all, not a sigma fp review. Never mentioned that it was. I do understand how the data is captured and interpolated dependent upon which gamma curve you use. I should have clarified my node structure when looking at the sigma fp sample images, but that’s not the point of the video. I have worked with many high level cameras such as the ARRI Alexa line and the Red cinema line. The fp is a powerful $1,800 camera, but that’s all it is. The dynamic range does get better than advertised if you work with it in post in a correct way, but it still will not over come those cinema cameras. And, that is why those cameras are way more expensive. That is simply the point I am making. If I wanted to do a detailed overview of the fp image, I would have screen capped davinci and looked at the RAW data.
@@charlestcrepps I may have read too much into the title of the video, interpreting that you were going to explain why the Sigma FP is not a cinema camera. However, 50% of the video focuses on RED, 40% on yourself, and when you finally address the Sigma in question, it feels like you just glance over it-almost as if you only had it in your hands for five minutes. As I’ve mentioned before, the 1080p on the Sigma FP is objectively bad. It might be okay for some uses, but it’s clearly not where the camera shines. While the 4K full-frame image is excellent, it’s derived from a skipped/binned 6K sensor. The 4K in DC crop mode offers the best image quality, with a 1:1 pixel readout and only a slight penalty to the signal-to-noise ratio. Saying that it doesn’t quite measure up to RED or ARRI is, frankly, obvious. The price difference alone tells that story. But that’s not what defines a cinema camera. A cinema camera is a tool-it’s meant to be used based on specific needs and strengths. There are plenty of legitimate cinema cameras that don’t come close to the FP in terms of image quality, codecs, or dynamic range. In fact, when it comes to color science, few cameras can match Sigma, as it covers 100% of the Rec. 2020 color space. The best way to view the Sigma FP is as a modern-day legacy to the original Blackmagic Pocket Cinema Camera: a capable, compact, or modular system. It’s an excellent and inexpensive option for run-and-gun scenarios or as a crash cam. I recently got mine, and I was pleasantly surprised. Its dynamic range is every bit as good as any camera based on a 12-bit pipeline. Surprisingly, I find its low-light performance and dynamic range better than my BMCC6K, despite both sharing the exact same sensor. The image it produces isn’t its limiting factor-if anything, it’s the limited I/O options. No single camera is perfect for everyone or every situation, and it’s great to have options. Ultimately, nobody shoots with a cinema camera and leaves the footage as-is; it always goes through a colorist for finishing. If I were to define what makes a cinema camera, I’d point to a high-quality image, robust low or uncompressed codecs, and strong monitoring tools. Chasing the top-tier models will always follow the law of diminishing returns. The only camera I can think of that defies this equation is the Canon C70. It now costs peanuts compared to its peers but punches far above its weight.
"Obviously directing the film as well because it is the story that I'm writing, but -- my main thing is the image and the cinematography" Consider the effort it took to make this video -- if it were applied toward telling the story instead. Would you feel prouder?
Easily replaces and often works in conjunction with Arri and Red. The dynamic range is noticeably greater than that declared by the manufacturer, they were modest. Very accurate and convenient exposure metering and simple multi-variant processing allow this camera to work in any environment. We just need to figure it out.
@@charlestcrepps, I am communicating via a translator, so misunderstandings are possible. Five years after its release, the fp is still the most relevant camera for creative shooting and easily finds its place in commerce if the operator has the skills. It is still supported by the manufacturer and has the brightest prospects. I shoot with these cameras all the time and admire the convenience, reliability and thoughtfulness.
I was gonna hate but yk what, sure the sigma fp isn't exactly on the same level as the arri or red cams but the fact that you're going out of your way to nitpick your faults with the camera can attest to the image itself, I can't help but think shooting in 4k would have gotten better quality image, more comparable to the 5k but for me I'm more than happy with it, I bought it randomly as a carry everywhere cam and fast learnt how much I love it, to the point I barely touch my Bmpcc4k unless for actual work
@@cine-ish Yeah exactly! I think it came across as me nit-picking but that wasn’t what I was trying to convey. Most times people talk about the camera in the terms of physical size or technical capabilities. I just wanted to hit it from the image quality angle and truly do a side by side comparison. I still love this camera, and if I didn’t like such highly produced images, I would use this on every film project.
@@charlestcrepps I'm a brokie who loves janky cams and working around limitations as someone who is a newb when it comes to grading and so for me, the sigma fp takes me a helluva lot closer to an image I'd be happy with not touching than any other camera and streamlines the process a bit for me with my 3 node editing which makes it more compelling, not to mention it's tiny size relative to competition and ability to even breathe the same air as hugely better cams
Have you tried the fp in super 35 mode ? its much sharper but that can also make the grain structure itself sharper so not always appealing . My own personal opinion is converting the cdng in resolve should only be done using blackmagic desgin for colorspace and gamma in the camera raw tab anything else is a mistake . I try and always shoot at iso 800 so i have 6 stops above and below but due to poor monitoring of the accurate exposure its all to easy to underexpose and lead to noise in those shadows you mentioned. Thats the biggest problem with the fp imho lack of accurate monitoring and that sigma didnt put together a workflow from camera to rec 709 output leading to having to use cst with other cameras profiles etc .... there should have been sigma designed ones in resolve like arri red and blackmagic. Anyway I still thinks its great just requires a lot of babysitting from the user
@@charlestcreppsthe problem with using P3 d60 is throws colours off particularly in the cyan/blue spectrum, there must be a profile or part of it's decoding when using black magic design colour space gamma in the raw tab that is preventing this.plus it is easier to work with as you can just enable the highlight recovery tick box .For a nice colour corrected roll off at the top end if it's there. Sigma really dropped the ball by not providing an end to end profiled workflow. They have ended up at different points recommending both p3 d60 and the black magic design one in the raw tab rather than actually solving this like arri and red
@ got it. That makes sense. Feels okay if you can build a monitoring lut that accounts for this, but if you’re shooting straight out of cam, that really affects your exposure capture.
@@charlestcrepps, You can use any space and profiling, even for shots in one project. Don't believe the dogmatists, with the right exposure, and it is easily available on the camera if you understand it, you will succeed. You will remove overexposures in any space. The logic of this camera is creativity, just follow your shots, and let the rest cry about the difficulties)
what about iphones? I keep hearing by kinda respectables videographers that iphones are going to replace every single camera out there. I halted 13k saved for a new rig since August because of what I keep hearing. also a client told me to get on with the new times and change to iphone. what should I really do? a phone is already better than my canon m50 at night and I dont own an iphone to please these new applefan clients.
@@Asturev Interesting question. Traditionally, I would not consider the iPhone sensors to be viable for “large screen” work. I suppose I should have given some parameters to what I was talking about in this video. I am comparing the fp to the red weapon sensor for large screen quality, something that will be shown on a theatre screen. If the iPhone can figure out Dynamic Range, I have no doubt it could make a serious dent in the cinema camera field. Even filming with something like a LUMIX S5 will give you, currently, a better image than an iPhone can produce. The sensor on the iPhone is quality, I’m sure. But, to get the workable data range and depth of field other sensors and cameras give you, you really have to rig it out with a lot of expensive gear.
I'm new to the sigma fp line, and i find it really easy to use in both stills and cine mode, a tool is a tool and the operator is what make the tool work, in the operator's creative path, following trends can lead you to favoring tools rather than your actual creative work. Creativity is the KEY no matter the tools.
Honestly most camera options in the $2-4k range are more than capable right now. In my opinion theres no reason to hold digital to a higher standard than old film cameras are held to. Sometimes the image is imperfect and thats fine, as long as its good enough to tell the right story and create the right mood. Hope your next film goes well, I think the effort you put into it will come through no matter what camera its shot on
I appreciate that and wholly agree. A majority of the camera discussion is personal preference.
Dude. 12 minutes into a Sigma FP review you mention it for the first time. After that you are talking looking at heavy line skipped 1080p with tons of aliasing artefacts and talk about a roll off. Mind it records the raw image with no profile and it will have roll off dependant on the gamma curve applied in post. After that you look at images how you exposed them and say something is clipping. To see if it’s clipping you would need to try to pull something out of it. 🤦🏻
@@LiveMyJourneyTom first of all, not a sigma fp review. Never mentioned that it was. I do understand how the data is captured and interpolated dependent upon which gamma curve you use. I should have clarified my node structure when looking at the sigma fp sample images, but that’s not the point of the video. I have worked with many high level cameras such as the ARRI Alexa line and the Red cinema line. The fp is a powerful $1,800 camera, but that’s all it is. The dynamic range does get better than advertised if you work with it in post in a correct way, but it still will not over come those cinema cameras. And, that is why those cameras are way more expensive. That is simply the point I am making. If I wanted to do a detailed overview of the fp image, I would have screen capped davinci and looked at the RAW data.
@@charlestcrepps I may have read too much into the title of the video, interpreting that you were going to explain why the Sigma FP is not a cinema camera. However, 50% of the video focuses on RED, 40% on yourself, and when you finally address the Sigma in question, it feels like you just glance over it-almost as if you only had it in your hands for five minutes.
As I’ve mentioned before, the 1080p on the Sigma FP is objectively bad. It might be okay for some uses, but it’s clearly not where the camera shines. While the 4K full-frame image is excellent, it’s derived from a skipped/binned 6K sensor. The 4K in DC crop mode offers the best image quality, with a 1:1 pixel readout and only a slight penalty to the signal-to-noise ratio.
Saying that it doesn’t quite measure up to RED or ARRI is, frankly, obvious. The price difference alone tells that story. But that’s not what defines a cinema camera. A cinema camera is a tool-it’s meant to be used based on specific needs and strengths. There are plenty of legitimate cinema cameras that don’t come close to the FP in terms of image quality, codecs, or dynamic range. In fact, when it comes to color science, few cameras can match Sigma, as it covers 100% of the Rec. 2020 color space.
The best way to view the Sigma FP is as a modern-day legacy to the original Blackmagic Pocket Cinema Camera: a capable, compact, or modular system. It’s an excellent and inexpensive option for run-and-gun scenarios or as a crash cam. I recently got mine, and I was pleasantly surprised. Its dynamic range is every bit as good as any camera based on a 12-bit pipeline. Surprisingly, I find its low-light performance and dynamic range better than my BMCC6K, despite both sharing the exact same sensor.
The image it produces isn’t its limiting factor-if anything, it’s the limited I/O options. No single camera is perfect for everyone or every situation, and it’s great to have options. Ultimately, nobody shoots with a cinema camera and leaves the footage as-is; it always goes through a colorist for finishing.
If I were to define what makes a cinema camera, I’d point to a high-quality image, robust low or uncompressed codecs, and strong monitoring tools. Chasing the top-tier models will always follow the law of diminishing returns. The only camera I can think of that defies this equation is the Canon C70. It now costs peanuts compared to its peers but punches far above its weight.
"Obviously directing the film as well because it is the story that I'm writing, but -- my main thing is the image and the cinematography"
Consider the effort it took to make this video -- if it were applied toward telling the story instead. Would you feel prouder?
My man… this is a RUclips video lol
Easily replaces and often works in conjunction with Arri and Red. The dynamic range is noticeably greater than that declared by the manufacturer, they were modest. Very accurate and convenient exposure metering and simple multi-variant processing allow this camera to work in any environment. We just need to figure it out.
@@UriRa I wouldn’t say easily replaces, but I agree that it contains a lot more than is advertised.
@@charlestcrepps, I am communicating via a translator, so misunderstandings are possible.
Five years after its release, the fp is still the most relevant camera for creative shooting and easily finds its place in commerce if the operator has the skills.
It is still supported by the manufacturer and has the brightest prospects.
I shoot with these cameras all the time and admire the convenience, reliability and thoughtfulness.
I was gonna hate but yk what, sure the sigma fp isn't exactly on the same level as the arri or red cams but the fact that you're going out of your way to nitpick your faults with the camera can attest to the image itself, I can't help but think shooting in 4k would have gotten better quality image, more comparable to the 5k but for me I'm more than happy with it, I bought it randomly as a carry everywhere cam and fast learnt how much I love it, to the point I barely touch my Bmpcc4k unless for actual work
@@cine-ish Yeah exactly! I think it came across as me nit-picking but that wasn’t what I was trying to convey. Most times people talk about the camera in the terms of physical size or technical capabilities. I just wanted to hit it from the image quality angle and truly do a side by side comparison. I still love this camera, and if I didn’t like such highly produced images, I would use this on every film project.
@@charlestcrepps I'm a brokie who loves janky cams and working around limitations as someone who is a newb when it comes to grading and so for me, the sigma fp takes me a helluva lot closer to an image I'd be happy with not touching than any other camera and streamlines the process a bit for me with my 3 node editing which makes it more compelling, not to mention it's tiny size relative to competition and ability to even breathe the same air as hugely better cams
Have you tried the fp in super 35 mode ? its much sharper but that can also make the grain structure itself sharper so not always appealing . My own personal opinion is converting the cdng in resolve should only be done using blackmagic desgin for colorspace and gamma in the camera raw tab anything else is a mistake . I try and always shoot at iso 800 so i have 6 stops above and below but due to poor monitoring of the accurate exposure its all to easy to underexpose and lead to noise in those shadows you mentioned. Thats the biggest problem with the fp imho lack of accurate monitoring and that sigma didnt put together a workflow from camera to rec 709 output leading to having to use cst with other cameras profiles etc .... there should have been sigma designed ones in resolve like arri red and blackmagic. Anyway I still thinks its great just requires a lot of babysitting from the user
@photomg316 that’s a good idea. I have not. I always thought the sensors data was interpolated at its highest quality with p3 d60 and linear.
@@charlestcreppsthe problem with using P3 d60 is throws colours off particularly in the cyan/blue spectrum, there must be a profile or part of it's decoding when using black magic design colour space gamma in the raw tab that is preventing this.plus it is easier to work with as you can just enable the highlight recovery tick box .For a nice colour corrected roll off at the top end if it's there. Sigma really dropped the ball by not providing an end to end profiled workflow. They have ended up at different points recommending both p3 d60 and the black magic design one in the raw tab rather than actually solving this like arri and red
@ got it. That makes sense. Feels okay if you can build a monitoring lut that accounts for this, but if you’re shooting straight out of cam, that really affects your exposure capture.
@@charlestcrepps, You can use any space and profiling, even for shots in one project.
Don't believe the dogmatists, with the right exposure, and it is easily available on the camera if you understand it, you will succeed.
You will remove overexposures in any space.
The logic of this camera is creativity, just follow your shots, and let the rest cry about the difficulties)
@@UriRaLol! Love it.
Nah. Helping this channel grow!
@@nortographer Thank you mate. Means a lot. I see you working hard on yours too.
next time you show example comparison and dont waste peoples time
what about iphones? I keep hearing by kinda respectables videographers that iphones are going to replace every single camera out there. I halted 13k saved for a new rig since August because of what I keep hearing. also a client told me to get on with the new times and change to iphone. what should I really do? a phone is already better than my canon m50 at night and I dont own an iphone to please these new applefan clients.
@@Asturev Interesting question. Traditionally, I would not consider the iPhone sensors to be viable for “large screen” work. I suppose I should have given some parameters to what I was talking about in this video. I am comparing the fp to the red weapon sensor for large screen quality, something that will be shown on a theatre screen. If the iPhone can figure out Dynamic Range, I have no doubt it could make a serious dent in the cinema camera field. Even filming with something like a LUMIX S5 will give you, currently, a better image than an iPhone can produce. The sensor on the iPhone is quality, I’m sure. But, to get the workable data range and depth of field other sensors and cameras give you, you really have to rig it out with a lot of expensive gear.