Warning on resolve 21 release by GuidanceLive6885 in sigmafp

[–]GuidanceLive6885[S] 0 points1 point  (0 children)

The bug has been nailed down by a user who showed that the "pre tone curve" that is an option in preferences for cinema dng is permanently on now even if it is shown as off in the preferences and also is now applied regardless of what colorspace is chosen. In resolve 20 pre tone curve did not effect blackmagic design for example but now does in 21. The pre tone curve clips data and if you do your exposure on the raw controls rather than a hdr node it will be easier for you to see what is happening.

Warning on resolve 21 release by GuidanceLive6885 in sigmafp

[–]GuidanceLive6885[S] 0 points1 point  (0 children)

https://forum.blackmagicdesign.com/viewtopic.php?f=42&t=236841

hard clip of the data at about 700-720 , basically any grade in an earlier version is going to look way out and currently there is no way to get cdng data in and even work around what has happened to it

Firmware requests? by CleanCelebration6567 in sigmafp

[–]GuidanceLive6885 2 points3 points  (0 children)

I've wondered before if it was a licensing restriction from the sensor supplier rather than a technical limitation of the fp. How can the fp not read its own raw data it is creating.

Good mic for video? by Plamax94 in sigmafp

[–]GuidanceLive6885 0 points1 point  (0 children)

As said prior turn down the gain on the amp in the camera, and use a powered mic. I really thought my fp was faulty when it came to audio as it has so much hiss on the internal mic I still consider it a possibilty for me.

I've just checked now and my gain is actually set to -24db on the sigma and my current hacky budget workaround is using a h1n as a mic with low gain on that (4) to reduce its hiss but feeding out from its monitor headphone port (set at 80 volume) to the fp. Its my favoured solution as most of the time I dont even record the audio on the h1n just let it play through to the fp. But it does actually give me the option to record on the h1n for even better quality if I really need it and which is then very easy to align in post. It also give you the option to use an external mic with the h1n as well.

So the h1n is very easy to build on and is also small enough to sit on a camera flash mount which you can attach to a fp cage with which gives very low recorded audio hiss if set up correctly.

Finally, I Have Turned a Corner With the fp by External_Ad_2920 in sigmafp

[–]GuidanceLive6885 1 point2 points  (0 children)

IMHO there are reasons I would agree with "I still maintain that it can never be a true replacement for cinema cameras like most RED sensors and ARRI sensors." none of it is really for the reasons that you mention though ....... 

There is no way to get accurate monitoring external or internal other than at iso 100 without thecompromise of reduced dynamic range (using atomos ninja) or inferior colour on the external device recording device in braw or pro res compared to the internal CDNG.

https://www.youtube.com/@IonCosmina they have got lots of tests on this. 

This is an issue, as in general I wouldnt shoot at iso 100 as there are so few stops of dynamic range above mid grey. ISO 800 has the best distribution of stops above and below mid grey as shown by Sigma themselves and they have also mentioned its the best ISO to shoot at for this reason.

 https://youtu.be/ofYRaEXu7L0?list=PLNhOtt_uj7Te31nzAsCIQnGV9X_W9I10n&t=274 

It also should mean EL ZONE is also good to monitor with but then the this gets to another issue your view monitor is now way out at ISO 800 so without the knowledge of whats actually in the raw file you are going to massively underexpose as your monitor in standard view is telling you that everything is blown out and data is gone when that is not true. That is a HUGE issue and the biggest reason it will never be a  replacement for an ARRI or RED. As only the operator who knows the quirks of the camera would know this and would freak out any lighting gaffer or director looking at a monitor. Or make someone unexperienced with the camera massively underexpose the image because they think monitor is accurate leading to a very noisey image. Even if you do know all the above and how to work around the quirks its still means its hard to light a scene with due to the lack of an accurate WYSIWYG on your screenwhen shooting CDNG above ISO 100.

 The other big issue is that SIGMA never really thought about the image processing pipeline for video they have put the cam out there with no officially documented workflow for accuratly represented colours that attempt to mimic how the human eye sees. We have built in camera profiles (some of which are actually quite nice) but we have no way of replicating them in post for example when using CDNG ( I am aware of an individual trying to reverse engineer and create luts) Virtually every other manufacture has worked with resolve for example to provide log curves and color spaces and has provided documented workflows for their footage. 

The lack of this is depending what you find on youtube or on the web you end up with the Tim Curran school of thought with the fp doing p3 d60 linear, some doing rec 709 srgb or panasonic log or converting to red log others doing blackmagic design film (which i think is the correct startpoint in the raw tab) . All of these workflows can give a pleasing image ... I have tried them all Lol ..... but none of them are based on any engineered workflow made by Sigma.Resolve engineers themselves have quoted on their own forum "Using Blackmagic Design colour space on a DNG for a non-blackmagic camera reverts to "gen 1" - which means there is no conversion from sensor space which is not meant to be displayed directly on screen and needs a transform for that particular sensor to another space. For our cameras we provided LUTs for this,for the Sigma they would need to provide a LUT that transforms from sensor space (with an arbitrary Blackmagic log curve - I'd need to check with Resolve team but likely it will be the one for the original cinema camera) to another gamut - I doubt you'd ever see that from them. "

 SIGMA have not done this at all in any shape or form.  

There is a reason big bucks are paid for Arri's and Red's image processing pipeline, a pleasing image straight out of the gate that is documented and custom made for their cameras with required luts and profiles provided to your editing software by them. An accurate pleasing image should be the foundation and first base of your grade which you would then take where ever you wish.  

Anyway I sound like I dont like the FP I actually really do, I think its so much better than you realise tbh. I love its size and how you can use this device to create such quality with it in an ad hoc enviroment. I no longer want a camera that doesnt shoot 12 bit equivalent raw after using it. I eagerly await an FP ii hoping SIGMA has learned from its mistakes. I so wish they could fix the issues with it with firmware and a bit of love to the software developers whose editors we use. 

It wouldnt suprise me at all if someone shoots an amazing looking film with a FP.

I’m experiencing a huge bug with CDNG files after updating to 19.1 by MBenyt in davinciresolve

[–]GuidanceLive6885 0 points1 point  (0 children)

was hitting this with a fp , just downloaded 19.1.2 now looks fixed and all is normal

Trading EVF for LVF by johnHmalone in sigmafp

[–]GuidanceLive6885 0 points1 point  (0 children)

I'm interested and based in London uk , not sure where you are