Informative Video on the Sigma FP: Why log is irrelevant and info on color gamut

Started 2 months ago | Discussions thread
tagscuderia
tagscuderia Senior Member • Posts: 1,679
Re: Informative Video on the Sigma FP: Why log is irrelevant and info on color gamut

Markr041 wrote:

tagscuderia wrote:

Markr041 wrote:

...

It is long but you get a clear explanation of why when shooting dngRAW you do NOT need a log profile in the camera. Essentially, the sensor is linear and RAW captures all the sensor information. You can apply a log profile in post.

I'm no filmmaker/videographer and pay little to no attention to video specs et al but... even I know that Log is for those NOT wanting to capture CinemaDNG; 10-bit H.264/265 is far more manageable than RAW and fits into filmmakers' existing workflows.

The fp's USP is full-frame RAW at an aggressive price point, but CinemaDNG creates all sorts of demands that (seemingly) a lot of people don't want to be faced with. It's why internally recording to ProRes LOG is also highly requested.

P.S. cardinal sin of commenting on the internet... I haven't watched the video

As far as I am concerned, for video there is no point in using the Sigma fp if one is not going to take advantage of the RAW capability. That is precisely why the fp is superior to most cameras for video. There are plenty of more-useable and compact cameras that have log compressed codecs. Compression is what does the most harm to video quality, and creates the most problems in editing.

Completely agree

And you are wrong, very wrong: except for space (which is now very cheap), working with CinemaDNG files in Resolve is EASIER than working with heavily-compressed HEVC or H264 files, log or not. I think that it is ignorance that makes people shy away from shooting in RAW. HEVC is the least "manageable" codec - it creates enormous burdens on the processor, and can barely be played on timelines, thus requiring conversion.

The only video experience I have is with drones, but from what I've read, file sizes are the issue for a lot of cinematographers/videographers looking at RAW.

If I was buying an fp, I'd be capturing 12-bit 4K CinemaDNG which is external capture only and originally only the Samsung T5 SSD was certified: ~£150 for 1TB but at 12.7MB per frame... 54 minutes?

REDCODE patents prevent in-camera RAW compression but Blackmagic RAW gets around this because it contains de-mosaiced data, SIGMA could achieve the same by using Linear DNG. But that throws away the advantage of using higher quality de-mosaic algorithms in post.

I have shot and edited using HEVC at high bitrates and also RAW, so I know what the performance is in editors.

As far as editing goes, 264/265 are delivery formats but with hardware decoding, even 4K 265 at 60fps is perfectly usable − a lot depends on your machine and the software in play. Personally I use ProRes proxy files for editing.

I digress, I was merely commenting on the obviousness of RAW and Log not being bed-fellows. But perhaps that's an easier concept coming from RAW in photography... ?

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