Support for larger, 4TB external SSDs enables the fp and fp L cameras to record for longer times before swapping out storage. This system, which is also available in fellow L Mount Alliance maker Panasonic, provides for 15 Stops in color correction, and can precisely match exposure and lighting at a later date for pickup shots or reshoots. The updates also have a new False Color tool from a previous update, which has been expanded with the addition of the EL Zone system. Sigma's new False Color tools Credit: Sigma And since the mode is similar to that used by the ARRI Alexa LF and Mini LF, the fp can be used as a secondary camera for projects using that hardware. The camera is capable of widescreen aspect ratios of 1.25, 1.3, 1.5, 1.65, 1.8, and 2.0. There are also new settings in the Director’s Viewfinder mode, which opens up the fp and fp L to use Open Gate mode with anamorphic de-squeeze. New director's Viewfinder modes Credit: Sigma The color tone is designed for fast turnaround projects that have a limited post-production cycle, and as such, would be “baked in” over the fp LOG codec, which offers greater latitude for dynamic range and color in post-production. The new color mode, which Sigma calls “Warm Gold,” will “create a mellow atmosphere with subdued tones and warm colors,” the company says. This week, the company released firmware versions 5.0 and 3.0 for each model, which brings with it a new color mode, support for larger external recording SSDs, and support for Camera to Cloud using Atomos Cloud hardware. Though it doesn’t grab much in the way of headlines from techno-savvy film geeks, Sigma continues to quietly refine the camera’s capabilities through firmware updates. So, here's an interview with Achtel talking about his findings: Having said that, this is a very clinical scientific test, and frankly, a bit above our pay grade. He discovered that the Sigma fp does a better job of reproducing the Rec. This is said to provide an extremely accurate reading of how a camera can reproduce each color. What Achtel did was project monochromatic light directly onto the sensor, which according to him, a lot of camera manufacturers do themselves. Not too shabby for a shoestring budget looking to deliver big-budget results.īut what did we mean that the Sigma fp can rival the Sony Venice? Well, cinematographer Pawel Achtel, who developed the 3D Beam Splitter camera rig for Avatar: The Way of Water, conducted his own tests for the little camera. With a 24.6MP Full-Frame BSI Bayer CMOS Sensor on the fp and a 61MP Full-Frame BSI Bayer CMOS Sensor on the fp L, these cameras can capture 14-bit images in 4K and 12-bit images 6K, respectively. However, using Cinema DNG as their lossless codec, the cameras can deliver a decent cinematic punch. The Sigma fp and its 6K big sibling the Sigma fp L can be deceiving due to their pocket size. Coined as the true "pocket cinema camera" by every filmmaker with a YouTube channel, the fp line offers impressive features that some say even rival the Sony Venice. These cameras are the Sigma fp and Sigma fp L, which robust little tools. Known chiefly for their high performance yet affordable optics, the Japanese company also has two cinema cameras that are still receiving support and new video features to make the cameras more alluring to content creators. When you think about getting a new cinema camera, the company that rarely comes to mind is SIGMA.
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