It's also super easy to adapt to older EF and PL lenses.Ĭontinuing that theory of flexibility, the fp is the first major platform to support both ProRes RAW and Blackmagic RAW. This is one of the main reasons I'm really deferential toward cameras that support L-mount, and I hope that Blackmagic will support L-mount in a future release. A few years later a new Panasonic S series comes out with a feature you want you only need a new body, not new glass. The dream of L-mount is something like that for full-frame mirrorless.įall in love with the Sigma fp L and buy a bunch of lenses. As a filmmaker, you can invest in a really good set of lenses and know that, even as camera tech evolves, you can keep evolving your camera body without upgrading all of your lenses. Open-format lens mounts are good for filmmakers, but less so for manufacturers. There is a reason that Panavision was always ARRI's biggest competitor and biggest client. You couldn't shoot PL lenses on PV bodies, but-well, while we love Panavision glass, there were rarely features that made PV bodies more attractive than their competitors from ARRI and Aaton. If you wanted to shoot PV mount lenses on a non-Panavision body, Panny would Panavize the camera for you. Arriflex, Aaton, and Moviecam all supported PL mount as a standard, so you could get lenses from Zeiss and Cooke and others and mount them to those cameras. While Sony can be forgiven for going for the E-mount since they were so far ahead of everyone else, for newer full-frame cameras, as a filmmaker I always support open standards, and the L-mount is the "open" standard.ĭon't forget, back when we shot film, for the most part, it was either PL or occasionally PV mount for lenses. The key here is that, to my mind, Sigma is doing all the things we want a camera manufacturer to do as a filmmaker.įirst and foremost, they are joined together with Panasonic and Leica in pushing the open "L-mount," and they are encouraging others to do the same. However, that 4K is coming from a much better sensor, which should look cleaner than the already impressive footage from the original fp. Still shooting is now up to 9.5K RAW, though video remains 4K. They improved the autofocus system, which should keep it in competition with Canon and Sony. It can work as a webcam over USB-C, and also can be charged over USB-C, so if you are setting up a long shoot you can use an external USB-C battery for long runtimes. There are a whole host of upgrades that stand to make it even more appealing to filmmakers. Sigma has just refreshed it with the new fp L. Maybe the lack of IBIS and a strong AF is truly holding it back. It's popular, and everyone we know with one is happy with it, but it hasn't had nearly the impact of the Sony Alpha or Canon EOS R cameras. A director's viewfinder mode that previews the framing size of various other manufacturers' sensors.ĭespite all this, though, it wasn't the hit we thought it might be. RAW straight to SSD, though initially only CinemaDNG, and then eventually both ProRes RAW and Blackmagic RAW to external recorders. A full-frame sensor like the Sony Alpha's and Panasonic S lineup. Shooting to an external SSD like a Blackmagic Pocket. The Sigma fp won the Good Design Gold Award in 2019.With the original Sigma fp, we were seemingly getting everything we could possibly want, the best of all features from other camera makers. The Sigma fp is offered as a body only or in a body-and-lens kit package with a Sigma 45mm F2.8 DG DN prime lens at a suggested retail price of US$2,199. It was publicly announced in July 2019 ( 2019-07) and launched on October 25, 2019 ( ) with a suggested retail price of US$1,899 (body only) at the time. The Sigma fp is a 24.6- megapixel full-frame mirrorless interchangeable-lens camera made by Sigma. Programmed Auto with flexible program Shutter-Priority Auto Aperture Priority Auto Manual ģ.15-inch fixed TFT LCD with touchscreen, 2.1 million dots Full-frame mirrorless interchangeable-lens camera
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