USER REVI EW | S IGMA FP
increased the size significantly. The Sigma has helpful guides such as waveforms, zebras and focus peaking – as do many external monitors. It’s just hard to see them on the Sigma unless it’s at eye level. And there is no viewfinder, although Sigma offers one as an optional extra. The camera has built-in image stabilisation and contrast-detect autofocus, which is decent for most static or slow-moving subjects and is precise. It does have face and eye detection, which you can set to track moving subjects and alter the focusing area. However, it doesn’t have the same high-speed tracking capabilities and seemingly endless customisation options of hybrid phase-detect systems, such as on Sony or Olympus mirrorless cameras. CINEMATOGRAPHY What it does offer is a Director’s Viewfinder option. This allows you to fix the lens of your choice and set the camera to give the view as you would record on other cameras from Arri, Sony and Red in a variety of different settings. This is a nice option for DOPs on big movie shoots, but in reality is not of huge use to independent filmmakers. The camera will also soon offer the hybrid still/ movie cinemagraphs, but this will come via a firmware update. Aside from the spec and handling, the real beauty of this camera is the images it produces. We tested a version of the camera without its final firmware but the
and easy to get to grips with. You can also customise the QS menu with whichever settings you want. If you dig into the main menu system, it’s relatively easy to navigate (better than some manufacturers, not as good as others, as lots of functions are buried inside sub- menus – but once you get used to it, it’s intuitive and pretty simple). On the subject of controls, the top plate has the standard red Rec button, but in Cine mode the larger shutter release button does the same job. The body itself feels rugged and solidly made, and is weather resistant. It’s also compact – when you remove the L-Mount lens, it’s almost a shock to see the full-frame sensor. Only then do you realise how much tech Sigma has packed into a tiny body. It’s ideal for use on gimbals and drones, or anywhere that a larger camera won’t fit. COOLING The metal body acts as a heat sink for the heat generated by such a big sensor recording Raw files; the cooling vents around the 3.12-inch rear touchscreen also help cooling. At no point did the camera overheat at all. But the screen is totally fixed, which is not great for a video camera – shoot from a slightly lower or higher angle and it’s impossible to see, especially outside in daylight. In that case, you need an external monitor. We tried it with an Atomos
IMAGES The metal body acts as a heat sink, as the fp offers heat generating Raw video recording
quality shone through – especially opting for the finest quality and shooting CinemaDNG Raw in any of the bit depth options. However, not all options are available in all settings. Many depend on whether you are shooting to the internal SD card, an SSD drive via the USB-C port, or externally via HDMI to one of the two monitors that currently work with the Sigma fp – the Atomos Ninja Inferno or Blackmagic Video Assist 4K. The camera shoots in MOV All-I in 4:2:0 8-bit up to 440 Mbps, or GOP in the lower-spec 4:2:0 8-bit at up to 120Mbps. Then there’s CinemaDNG Raw at up to 2500Mbps. Depending on which of these settings you go for, it unlocks various different frame rates and resolutions. SHOOTING FORMATS For example, if shooting Raw to an internal SD card, you can only record in 8-bit at up to 2000Mbps, but if you record it to an SSD, then you can choose 8-, 10- or 12-bit. If you want the ultimate in quality and 12.5+ stops of dynamic range, 12-bit Raw is incredible, as it offers you the chance to maximise dynamic range, pull detail from shadows and highlights, and change white-balance to perfection. Add your own level of sharpening, grade it to your heart’s content, and even use stills grabbed from the Raw video for amazing- quality photos. With no anti-aliasing filter you might encounter moiré, so you’ll need to apply some measures to control that, too. The fp also produces quite contrasty Raw files, so you need to work out your colours. For quality, there is nothing better, but it does come at a cost in several ways. For example, if you record in 12-bit CinemaDNG, the only frame
Ninja V and it transformed the handling, although obviously
64 DEF I N I T ION | JANUARY 2020
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