From the opening of this vid I thought 'damn that's a good image - I bet that's the fp', and was pleased to find out it was. There's just a pleasing realism and naturalness that comes from that camera that, for me, is the best of this bunch. It gives me the sensation of 'being there' rather than looking at an image. I always enjoy your work. Kudos to you.
Great comparison video. When your monologue started, I thought, “Oh, another Angelino who really wants to be acting instead of what they’re currently doing for a living.” When your monologue was over, I realized that, at some point, I became engrossed in the story and the character. Lol. Good job… you have acting chops! I thought the Komodo looked better than the FP, but that’s subjective.
I checked this out out of curiosity and I got schooled. Hell even reading some of the comments on this vid have so much knowledge. Definitely subbing to you now.
Just one thing I want to note: Film, like analog 35mm negative film, you always expose to the left or Expose for the Shadows, because film has WAAAAAAAY more latitude in the highlights. It’s only ever been digital where you expose for the highlights to preserve detail and keep it from blowing out.
This video seems to just seal the deal as far as video image quality is concerned. The sigma FP arguably shoots better if not easily as good video as the RED. Am I missing something? Is there any surprise RED seems to be going through great lengths to stop other camera companies from allowing RAW formats to be included with their cameras? If the only difference between holy grail cinematic video and compromising sort of cinematic video between two full frame quality censors is the codec (or lack thereof in sigma FP's case using cinemaDNG) then why would someone drop 8k to get started with a RED as opposed to a fourth of that for just as good image quality? Thanks for any thoughts.
Thanks to your videos on the FP i just bought one, with a Samsung T7 shield SSD which is working so far. Thank you for this comparison. I regularly use Panasonic GH6 and P6K cameras, and I have the BMPCC OG for personal stuff which also suffer from micro jitters. I have checked many videos on the FP and, considering YT compression, I think the 12G BRAW footage loose colour information in the shadows. I can see that in the dark side of your face, plus a slight green tint although desaturated. Maybe the colour is there and you can bring it back in the grade. But it reminds me of the SIgma DP2 Merrill shadow handling, which was the main defect of the Foveon sensor. It would be great to compare the Komodo with the FP in S35 mode and 12 bit CNDG. The Komodo colours seem the most pleasing to my eye (without the Viltrox). Thanks again for your videos. Peace
I am not an authority, but I use to think of the end result of the different projects first, and then choose the cameras and lenses I can reach. With good lighting and Resolve color grading you can match many different looks. BRAW being quite flexible (I cannot access Arri and Red cameras, but I would use them for commercial or paid work if budget allows), but any 10bit log footage is good enough. The Sigma FP has it's quirks with overexposed parts. Sometimes the look to match is the BPCC OG for its texture. For Run&Gun GH6 (or GH7, I assume) is unbeatable. Panasonic VLog is a really strong codec.
All I needed to hear was the footage could possible look as good than the Komodo ( which was what I was already thinking ). 🤯. Thank you for this video.
There’s a legal vs full range mismatch with the a7siii. There’s a long explanation to it but basically it’s removing some information on top and bottom and so when you convert it to rec709 it looks more contrasty. It only seems to record properly in pro res raw externally. It’s driven me crazy on all of my sonys and affects how luts work in my monitors. You have to put a full range to legal lut on before you color space transform it.
I think you can just right click the file and tell go to Clip Attributes. Then tell the clip to use legal. It should then look the same as the internal recording.
@DJ ILLEE yep. Right click to select " clip attributes " then you can change the range of the clip from full to legal. If your using premire you need to do the lut to convert. Or on a Ninja you can turn the legal option on in the monitor and it will basically put a full to legal conversation lut on the footage for you.
Sony's colours are just off and everything is overprocessed - it's essentially baked in, even if you attempt to turn it off. Ironically, the Sigma FP uses the same sensor as the A7III (which is also used in all the Panasonic S series except the S1R). It shows the image Sony sensors can produce with less processing and interference.
which is basically used in any "budget" full frame cinema cameras (zcam, kinefinity) since its release, because its one of the sensors sony is selling to others.
@@merlinproductions7374 If Izzie is correct - yes. Most cameras on the market share their sensor, what makes the biggest difference is the IPP (image processing pipeline) of the camera, which can be a individual design of the selling brand (like kinefinitiy) and the codecs the camera may record (amount of compression / lost data). thats where the like and dislike part comes to play. some like the more greenish look (sigma fp) since it reminds of arri, some prefer the more reddish look (komodo), usually former/hybrid canon users ;-) In the end - with enough effort - you may push all cinema cameras in the direction you like. So you may more look at them like you would have on filmstock in the old days (arri now has made that internal) and choose the one you like best, or fits most on the type of production you have, so you dont have to spent too much time in post to push a cameras "look" in a completely different direction. We own a lot of different cameras, and dependant on the look (filmic or dslr like for example) we use another combination of camera/lens/filters to achieve that.
@@pathosmovies I wonder.. if two full frame cinema cameras with the same sensor both shot cinemaDNG - would there be any difference in the image quality?
Great sensor comparison! I use the bulky/original OVF of the Sigma and while its tough to do low shots, it really balance it (holding it like a director viewfiner). For other shots where I need extra balance I use the 24-105 with IS. Listen, the image stabilized in this lens is superb! (3 stops). So its not a cine lens, but its sharp and offer practical zoom. I never feel I need that extra weight, but if you do, the BM video assist with its batteries/cage/ssd will give you that for sure (I only use it when I am stationary and do > 1hr shots).
Red looks awesome, Sony . Ugh. Sigma, not great at BMRaw, unpleasant color rendering but.. but the latitude is amazing and @ $1500 it’s mind blowing, easy to correct in Resolve. I just love mine. Add a small Vmount and the weight is perfect. Have a great holiday and thanks for another great video.
I have the fp as my personal cam and the fx3 at work, your rant at around 10:30 is such a glaring issue of the fx3. With quick run and gun type videos I do at work. Lighting is never ideal and its so hard to deal with the shadows if I cant get enough light. I am almost always shooting at 12800 iso, which still looks clean but id rather not
Literally the biggest downfall of this camera. Hence why the red is more of a ‘Cinema Camera’ however, I’ve had a sigma fp and filmed a whole feature length documentary on it and it turned out amazing. The colors were fantastic. Just wish I was able to use some anamorphic lens, but I do think this will become a great b camera after I buy the red Komodo
15:20 The issue is when recording out of the HDMI the camera cant output metadata that flags whether its a video or full signal When you bring the vlip into Davinci, right click the prores file>clip attributes>data levels =full This will correctly interpret the footage so it doesnt look overly contrasty or saturated This has always been an issue with Sony cameras and it seems like it's never been addressed It happens with my A7s and a7sii Apparently its still a problem with the a7siii, which would imply it happens with the FX-30/FX-3 Disappointing because that means there are potentially thousands of users out there better crappy footage and have no idea
@@JustinPhillip and the grading happens bevor der CST. (CST is the last note) But you know that. I used automatic colour management in DVR and found out that I was always graded after a colour was already transformed. So I lost all the information my camera was holding. I think.
It would have been cooler to use the Black magic monitor you use in "real shoots". You would have had true real world test shooting 4k maximum bit, 4:2:2. Considering we are all shooting with SSD; 12 bit CinemaDNG is super. I bet that Sigma Fp would have been more stellar and without noticeable color shifts seen on scopes.
@@JustinPhillip lol, didn’t you say you didn’t like the a7siii - when I watch it I thought it looked nice with some less DR than the expensive cameras. Was curious if you articulated specifics.
I found your comments on film exposure here fascinating, because from a film photography perspective everything I've heard is that film handles overexposure much better than underexposure. Is this not general practice in cinema film use? It's fairly common to shoot 1-2 stops over, and the transition into fully exposed "clipping" at the highs is much smoother, partly due to reciprocity as the chemical reaction advances.
You said you don't expose for the shadows with film, but everything that I know from film photography is that that's exactly what you do, because it is much harder to bring up shadows in post and recover detail there, than it is to bring highlights down. I was wondering if the cinema world treated it differently for some reason because I have no experience with shooting films on film, only photos. Maybe this is a result of modern film photography being a hybrid workflow of digitally scanning in negatives after exposing them? @@JustinPhillip
Awesome video..I'm willing to buy an fp..but do you think I should do it?or w8 for the next model?or better..do you think they will make a new version soon?
Hi. Thanks for the enlightening comparison demonstrating yet again what a great camera the fp is. I noticed you use the EV-11 Viewfinder with the Dark Power Labs’s M42 SSD holder. I have the same set up. Do you find the EF-11 works itself loose from the fp body and even just a small amount of slack causes the SSD to stop connecting. Or is it just me? Looking forward to your fp latitude tests.
you can definitely see the red Komodo is special! speed boosters im not a fan of. I always got this smearing when lights came in from the side. that was the deal breaker for me. Nice video!!!
Heh' Fighters, Sleepers & Crooks cracks-up on repeat viewing! // Should the need arise for added fp 'girth' as stated, this might be furthered w/ shown (Dark Power) SSD-EVF piece; cage & tilt wares. My diy has been long successful and with the Sigma EVF attached it results in cine camera proportions and a good view of operations ~
Sorry, maybe I don’t understand something, but what is the problem to shoot a bit overexposed on a A7Siii? As I understand it’s a recommendation to shoot overexposed on Sony to get the best results. And the worst thing you can do is to shoot underexposed. So why put the Sony to the worst scenario, if you know that the quality might be much better? I’m not professional, but if you can achieve better quality with another settings, why not do so? I understand your point about true cinema sensors vs video sensors, but to me it’s like comparing diesel cars versus petrol cars. Both of this cars might be powerful, but max power on this cars is just on different points. I’m sorry if I’m sounding naive, I’m not a professional, but it looks to me like not really fair comparison
just showing it stacked up against a true cinema camera with more traditional lighting. But nowadays, no one cares to learn proper lighting techniques so they just bump the ISO. lets be real, that's whats going on in our world of cinematography today.
I had the same problem with Video assist and x-t4 as you had with Sony (different colors and contrast) You need to change the range (Clip Attributes) in davinci resolve from Video to Full or from Full to Video (Auto doesn’t works).
YET, now in March 29 you sold the FP? I am totally confused. I am not an FP owner and even considering the A7SIII but this feels like some Sony 'fees' exchanged hands? Now Im strongly looking at the S5m2 panasonic thanks to you Justin.
All the cameras look good. I think you dislike for the Sony is in your grade. Those dark shadows on your face can be easily lifted without adding grain. The Sony isn't perfect though that's for sure.
Dude off topic, but do you film in 24fps or ntsc? Why use one over the other? Filming interviews or where audio is involved with talents, is it best to use one over the other? I ask because I know you’re a working professional in the industry and not a YTBer filming squirrels or someone obsessed with DR only to film in their home office lol help? Thanks! 🙏🏻
When I first seen the footage of the Fp , I was blown away. How ever , I very interested in the FPL. I understand it’s more of a photography camera. But can it still hold up as a video camera?
I downloaded a lot of your videos. This is gonna be my last i think. After the Sony 'coup', I feel Sony is not competing on its merits. Sadly I am wary of getting the A7S3 even if i was inclined as of yesterday to buy it. Not after they induce Justin to vomit all good he said about the FP including these on his video. Now, I'll have to wait for the Panasoonic S5m2x. Sad to leave Justin and be disillusioned about Sony and all its merits other than the Sony colors.
@@asadkhan3089 Full-frame lenses are expensive (whether it's AF/MFonly) and .dng file is heavy, you should plan bigger SSD solution so. It's money-matter
Justin, thanks for showing footage with the A7SIII. Do you keep Autofocus on usually? I am not going to lie though, but I honestly hated this video. The music is distracting and the color grading is horrible -- way too many highlights and weird shadows. Also, your stabilization is bad because I can see micro jitters -- have you ever heard of gyro stabilization? In the future please don't waste people's time with these sub par videos. Please do your research ahead of time. I would appreciate if you check out my recent videos and provide HONEST feedback. I am trying to improve my HDR performance. Subscribe if you enjoy :)
It’s crazy how Sony is trash garbage look it’s insane 😅 thx because all the Sony fan boy must be so embarrassed how horrible is the real quality without using a ton of post pro to get it somewhat acceptable 😊
Yeah i mean everyone wants to say ph he didnt grade it right or whatever the case may be, but then it would all be trash. Whcih maybe it is, but the reality is there. Im literally just showing the realities of the sensor. Glad to see others are noticing it as well.
The amount of BS in this video is mind boggling. RAW has nothing to do with the ability to pull info in the shadows. Thats literally has nothing to do with it being RAW. You can't change the max possible dynamic range of the sensor. And as someone who use them both together I can attest Komodo and A7siii/FX3 has similar level of DR (although disributed differently at different exposures) and fp definitely has much less than either of the other two. We can sit here and call Sony not a "cinema camera" while Greg Fraser literally shot an entire big budget Hollywood film on it. Jokes on us.
Show us what you got, SlapMehh!!! (btw, your try at insulting me does not bother me oNE bit. I've been a working actor in this town since i was a teenager.) So you know, if you took this bully energy and put it towards your guitar skills maybe you'd have more than 12 subscribers. WUSSUP HATERS?!
👊🏼 Check the links for updates on kit; prints; reels; & 1-on-1 sessions: www.justinphillip.net/links
From the opening of this vid I thought 'damn that's a good image - I bet that's the fp', and was pleased to find out it was. There's just a pleasing realism and naturalness that comes from that camera that, for me, is the best of this bunch. It gives me the sensation of 'being there' rather than looking at an image. I always enjoy your work. Kudos to you.
y is fp so good.
Performances from camera set aside, your performance was awesome in the test 🙌🏽🔥🙌🏽
Agreed, you clearly have a passion for the performing arts 👍
I was going to say the same. Justin should do some auditions.
Thanks! Yeah i’ve actually been in quite a few commercials, films & tv shows. Been acting since i was a teenager and been in SAG for 13 years now 🤙🏼
Agreed again.
seriously impressive man
Thanks! I purchased the FP because of the review you did. Love the images that come out of that camera. This test shows how well it performs.
Great comparison video. When your monologue started, I thought, “Oh, another Angelino who really wants to be acting instead of what they’re currently doing for a living.” When your monologue was over, I realized that, at some point, I became engrossed in the story and the character. Lol. Good job… you have acting chops!
I thought the Komodo looked better than the FP, but that’s subjective.
Its quite opposite for me! 😂 i grew up in the industry, acting since i was a kid. Passion for it shifted to cinematography about 6 years ago. 🤙🏼
I checked this out out of curiosity and I got schooled. Hell even reading some of the comments on this vid have so much knowledge. Definitely subbing to you now.
Lot of gems in this one, people sleep on these videos like you said. Excellent!
Just one thing I want to note: Film, like analog 35mm negative film, you always expose to the left or Expose for the Shadows, because film has WAAAAAAAY more latitude in the highlights. It’s only ever been digital where you expose for the highlights to preserve detail and keep it from blowing out.
True for negative film, but I always exposed positive film for highlights.
@@glacierfilmco You mean reversal?
This video seems to just seal the deal as far as video image quality is concerned. The sigma FP arguably shoots better if not easily as good video as the RED. Am I missing something? Is there any surprise RED seems to be going through great lengths to stop other camera companies from allowing RAW formats to be included with their cameras? If the only difference between holy grail cinematic video and compromising sort of cinematic video between two full frame quality censors is the codec (or lack thereof in sigma FP's case using cinemaDNG) then why would someone drop 8k to get started with a RED as opposed to a fourth of that for just as good image quality? Thanks for any thoughts.
Global shutter is a big one.
>global shutter
>12,5 vs 16,5 stops dynamic range
Thanks to your videos on the FP i just bought one, with a Samsung T7 shield SSD which is working so far. Thank you for this comparison. I regularly use Panasonic GH6 and P6K cameras, and I have the BMPCC OG for personal stuff which also suffer from micro jitters. I have checked many videos on the FP and, considering YT compression, I think the 12G BRAW footage loose colour information in the shadows. I can see that in the dark side of your face, plus a slight green tint although desaturated. Maybe the colour is there and you can bring it back in the grade. But it reminds me of the SIgma DP2 Merrill shadow handling, which was the main defect of the Foveon sensor. It would be great to compare the Komodo with the FP in S35 mode and 12 bit CNDG. The Komodo colours seem the most pleasing to my eye (without the Viltrox). Thanks again for your videos. Peace
Which camera is your favourite overall and you would recommend?
Thanks in advance.
I am not an authority, but I use to think of the end result of the different projects first, and then choose the cameras and lenses I can reach. With good lighting and Resolve color grading you can match many different looks. BRAW being quite flexible (I cannot access Arri and Red cameras, but I would use them for commercial or paid work if budget allows), but any 10bit log footage is good enough.
The Sigma FP has it's quirks with overexposed parts. Sometimes the look to match is the BPCC OG for its texture.
For Run&Gun GH6 (or GH7, I assume) is unbeatable. Panasonic VLog is a really strong codec.
@@Pla2es thank you so much for your response friend, stay strong, healthy, creative and blessed.
All I needed to hear was the footage could possible look as good than the Komodo ( which was what I was already thinking ). 🤯. Thank you for this video.
There’s a legal vs full range mismatch with the a7siii. There’s a long explanation to it but basically it’s removing some information on top and bottom and so when you convert it to rec709 it looks more contrasty. It only seems to record properly in pro res raw externally. It’s driven me crazy on all of my sonys and affects how luts work in my monitors. You have to put a full range to legal lut on before you color space transform it.
I think you can just right click the file and tell go to Clip Attributes. Then tell the clip to use legal. It should then look the same as the internal recording.
@@jessecumberledge4530 that’s in divinci correct?
@DJ ILLEE yep. Right click to select " clip attributes " then you can change the range of the clip from full to legal. If your using premire you need to do the lut to convert. Or on a Ninja you can turn the legal option on in the monitor and it will basically put a full to legal conversation lut on the footage for you.
Wow! Never considered that! Excellent
That monologue man… made my skin crawl. But like, in a good way. Nice job 👏
You're the coolest guy. Merry Christmas to you and your loved ones, Justin!
Sony's colours are just off and everything is overprocessed - it's essentially baked in, even if you attempt to turn it off.
Ironically, the Sigma FP uses the same sensor as the A7III (which is also used in all the Panasonic S series except the S1R). It shows the image Sony sensors can produce with less processing and interference.
Yupp!
which is basically used in any "budget" full frame cinema cameras (zcam, kinefinity) since its release, because its one of the sensors sony is selling to others.
@@pathosmovies sigma fp sensor is the same as kinefinity?
@@merlinproductions7374 If Izzie is correct - yes. Most cameras on the market share their sensor, what makes the biggest difference is the IPP (image processing pipeline) of the camera, which can be a individual design of the selling brand (like kinefinitiy) and the codecs the camera may record (amount of compression / lost data).
thats where the like and dislike part comes to play. some like the more greenish look (sigma fp) since it reminds of arri, some prefer the more reddish look (komodo), usually former/hybrid canon users ;-)
In the end - with enough effort - you may push all cinema cameras in the direction you like. So you may more look at them like you would have on filmstock in the old days (arri now has made that internal) and choose the one you like best, or fits most on the type of production you have, so you dont have to spent too much time in post to push a cameras "look" in a completely different direction.
We own a lot of different cameras, and dependant on the look (filmic or dslr like for example) we use another combination of camera/lens/filters to achieve that.
@@pathosmovies I wonder.. if two full frame cinema cameras with the same sensor both shot cinemaDNG - would there be any difference in the image quality?
Great sensor comparison!
I use the bulky/original OVF of the Sigma and while its tough to do low shots, it really balance it (holding it like a director viewfiner).
For other shots where I need extra balance I use the 24-105 with IS.
Listen, the image stabilized in this lens is superb! (3 stops). So its not a cine lens, but its sharp and offer practical zoom.
I never feel I need that extra weight, but if you do, the BM video assist with its batteries/cage/ssd will give you that for sure (I only use it when I am stationary and do > 1hr shots).
Holy shit that performance was captivating! Lol damn man it gave me goosebumps 😅 👏👏👏
Red looks awesome, Sony . Ugh. Sigma, not great at BMRaw, unpleasant color rendering but.. but the latitude is amazing and @ $1500 it’s mind blowing, easy to correct in Resolve. I just love mine. Add a small Vmount and the weight is perfect. Have a great holiday and thanks for another great video.
Damn that sigma is good! You had mostly convinced me before but now I'm sold on it.
Great acting talent, this really got me info, very inspiring, thank you!
I have the fp as my personal cam and the fx3 at work, your rant at around 10:30 is such a glaring issue of the fx3. With quick run and gun type videos I do at work. Lighting is never ideal and its so hard to deal with the shadows if I cant get enough light. I am almost always shooting at 12800 iso, which still looks clean but id rather not
I thought the Sony has the most pleasing color
Great sound quality on Monolog, what setup was it in term is of audio equipment! And thanks for sharing great knowledge
it's in the description.
Stunning performance on the fp. Did you expose it using the built in false colors?
false color on the main monitor + my light meter :)
Sorry but Sigma is better. What a picture. Sigma and Arri my choice of all cams
Great comparsion!🙌🏾 may you do a video about the workflow of the Fp on Resolve?? Pleaseeee 🤩🥸
As always interesting video and perspective. @justin P. I missed the video with the catch light, what’s the name?
th-cam.com/video/nrT5tODjzHo/w-d-xo.html - Rosco Dash
@@JustinPhillip thanks a lot. I ordered it already.
Just bought the fp, it's a beast. If only it have open gate or 4:3 for anamorphs tough.
Literally the biggest downfall of this camera. Hence why the red is more of a ‘Cinema Camera’ however, I’ve had a sigma fp and filmed a whole feature length documentary on it and it turned out amazing. The colors were fantastic. Just wish I was able to use some anamorphic lens, but I do think this will become a great b camera after I buy the red Komodo
As I like to make documentary’s
15:20
The issue is when recording out of the HDMI the camera cant output metadata that flags whether its a video or full signal
When you bring the vlip into Davinci, right click the prores file>clip attributes>data levels =full
This will correctly interpret the footage so it doesnt look overly contrasty or saturated
This has always been an issue with Sony cameras and it seems like it's never been addressed
It happens with my A7s and a7sii
Apparently its still a problem with the a7siii, which would imply it happens with the FX-30/FX-3
Disappointing because that means there are potentially thousands of users out there better crappy footage and have no idea
This was excellent in all ways! Kudos
BM-Raw. If you use a colour space transform, you should get back the sliders to adjust the parameters. (DaVinci no colour managed mode is required)
hmmm, good tip! thank you!
@@JustinPhillip and the grading happens bevor der CST. (CST is the last note) But you know that. I used automatic colour management in DVR and found out that I was always graded after a colour was already transformed. So I lost all the information my camera was holding. I think.
It would have been cooler to use the Black magic monitor you use in "real shoots". You would have had true real world test shooting 4k maximum bit, 4:2:2. Considering we are all shooting with SSD; 12 bit CinemaDNG is super. I bet that Sigma Fp would have been more stellar and without noticeable color shifts seen on scopes.
I’m confused why not just shoot at 12,800 and throw and an ND on? I’m confused what was poor about a7s3?
Im confused by this comment, so i guess we’re even
@@JustinPhillip lol, didn’t you say you didn’t like the a7siii - when I watch it I thought it looked nice with some less DR than the expensive cameras. Was curious if you articulated specifics.
I found your comments on film exposure here fascinating, because from a film photography perspective everything I've heard is that film handles overexposure much better than underexposure. Is this not general practice in cinema film use? It's fairly common to shoot 1-2 stops over, and the transition into fully exposed "clipping" at the highs is much smoother, partly due to reciprocity as the chemical reaction advances.
Is that not what i said?
You said you don't expose for the shadows with film, but everything that I know from film photography is that that's exactly what you do, because it is much harder to bring up shadows in post and recover detail there, than it is to bring highlights down. I was wondering if the cinema world treated it differently for some reason because I have no experience with shooting films on film, only photos. Maybe this is a result of modern film photography being a hybrid workflow of digitally scanning in negatives after exposing them? @@JustinPhillip
Very in depth, very informative.
Awesome awesome awesome video. I love your comments. They are right on.
Dude you are my cinema hero!!
😃
😁 Thanks, Randall!
Awesome video..I'm willing to buy an fp..but do you think I should do it?or w8 for the next model?or better..do you think they will make a new version soon?
Sigma have hinted that they have something new coming out
@@JustinPhillip tnx man..i really want to get in to the sigma world
@@JustinPhillipreally😮😮?? Where is your source of this info/rumors?? Thanks 👌🏽
Hi. Thanks for the enlightening comparison demonstrating yet again what a great camera the fp is. I noticed you use the EV-11 Viewfinder with the Dark Power Labs’s M42 SSD holder. I have the same set up. Do you find the EF-11 works itself loose from the fp body and even just a small amount of slack causes the SSD to stop connecting. Or is it just me? Looking forward to your fp latitude tests.
Yea i constantly have to pop the SSD out and tighten the EVf with the wheel. Bit annoying
you can definitely see the red Komodo is special! speed boosters im not a fan of. I always got this smearing when lights came in from the side. that was the deal breaker for me. Nice video!!!
Here’s the video we’ve all been waiting for. Been enjoying all your content. See you in 2023
Very interesting topic ! What do you think about Z CAM ?? Just curious
never used it! But i heard their customer service is great!
@@JustinPhillip ask them to send you one for a review !!!! They probably would :)
Wait... Why not 12bit cinema dng from the sigma?
Heh' Fighters, Sleepers & Crooks cracks-up on repeat viewing! // Should the need arise for added fp 'girth' as stated, this might be furthered w/ shown (Dark Power) SSD-EVF piece; cage & tilt wares. My diy has been long successful and with the Sigma EVF attached it results in cine camera proportions and a good view of operations ~
Sorry, maybe I don’t understand something, but what is the problem to shoot a bit overexposed on a A7Siii? As I understand it’s a recommendation to shoot overexposed on Sony to get the best results. And the worst thing you can do is to shoot underexposed. So why put the Sony to the worst scenario, if you know that the quality might be much better? I’m not professional, but if you can achieve better quality with another settings, why not do so? I understand your point about true cinema sensors vs video sensors, but to me it’s like comparing diesel cars versus petrol cars. Both of this cars might be powerful, but max power on this cars is just on different points.
I’m sorry if I’m sounding naive, I’m not a professional, but it looks to me like not really fair comparison
just showing it stacked up against a true cinema camera with more traditional lighting. But nowadays, no one cares to learn proper lighting techniques so they just bump the ISO. lets be real, that's whats going on in our world of cinematography today.
I had the same problem with Video assist and x-t4 as you had with Sony (different colors and contrast)
You need to change the range (Clip Attributes) in davinci resolve from Video to Full or from Full to Video (Auto doesn’t works).
How do you think the Sigma in S35 mode would have stacked up?
YET, now in March 29 you sold the FP? I am totally confused. I am not an FP owner and even considering the A7SIII but this feels like some Sony 'fees' exchanged hands? Now Im strongly looking at the S5m2 panasonic thanks to you Justin.
Hi! Good video! Tell me, as a sigma fp owner, how do you show сdng raw ?
Can you write the name of the video where you talk about lighting the eyes? Thnxxxx
I don't like the sony footage man... It's funny because this really showed why hahahahaha
Amazing content man
All the cameras look good. I think you dislike for the Sony is in your grade. Those dark shadows on your face can be easily lifted without adding grain. The Sony isn't perfect though that's for sure.
Would a better speed booster make a difference on the Komodo?
The Metabones is definitely better
@@dark-california awesome! Thank you
GLAMOROUS
the difference from the prores file looks like from a limited to full signal
This mic sound good. Is it new?
no....been using that Sennheiser for a bit now, for the assessment its much closer to me, maybe thats why?
Dude off topic, but do you film in 24fps or ntsc? Why use one over the other? Filming interviews or where audio is involved with talents, is it best to use one over the other?
I ask because I know you’re a working professional in the industry and not a YTBer filming squirrels or someone obsessed with DR only to film in their home office lol help? Thanks! 🙏🏻
If the camera will let me, i shoot at 24. If not, like the a7siii, then just 23.98. Doesnt really matter either way imo
Will a fx3 retain the shadows if recorded in atmos prores raw or will it remain less detailed unlike the red Komodo?
Nice performance!
Sigma looks great, Red Comodo is just as good, but Sony is an epic fail. Good acting though!
Would the sigma’s original hotshoe adapter fit the attachment by dark power labs?
and the winner is Panasonic ;-)
i won't buy a sony anymore... Fuji, Panasonic... are far better for colors
Fuji i definitely think has the secret sauce for colors
Fuji and Nikon are the kings of colors
@@actualartist3082 Maybe try a Lumix S1(H) ... 😉👌
@@actualartist3082 really??😮
Хорошая проявка сигмы, мне зашел этот способ, как один из вариантов🙂
My guy color graded the Sony like a crackhead, and then went on a rant about how it doesn't look right.
Loved the a7s3 color but the highlight rolloff was the worst of the cameras
🔥🔥🔥
They cannot do internal RAW because of silly US patents office.
You can play a great psychopath.
Sigma - Left, Komodo - mid, Sony - Right
thx... but way too long, and no intro-summary neither a clear conclusion.... didn't help me
🤷🏻♂️
after whaching this coomp. i hate my sony a7siii
Try shooting a weeding with Komodo or Sigma 😅. Cameras have their place in the 🎥 industry just got to pick one for your needs.
When I first seen the footage of the Fp , I was blown away. How ever , I very interested in the FPL. I understand it’s more of a photography camera. But can it still hold up as a video camera?
i did a comparison in the past, check my past videos
@@JustinPhillip I will do. 👍
I downloaded a lot of your videos. This is gonna be my last i think. After the Sony 'coup', I feel Sony is not competing on its merits. Sadly I am wary of getting the A7S3 even if i was inclined as of yesterday to buy it. Not after they induce Justin to vomit all good he said about the FP including these on his video. Now, I'll have to wait for the Panasoonic S5m2x. Sad to leave Justin and be disillusioned about Sony and all its merits other than the Sony colors.
AOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Please compare Sony fx3 with sigma fp
FX3 shares same sensor & bits with S3(iii)!
@@bond-kim thank you,
which camera will you suggest me for best colour grading with low budget?
@@asadkhan3089 Definitely Pocket4K!
The complexier workflow, the more stages and time needed, which .braw+SSD media leads on simplicity.
@@bond-kim what about sigma fp, is Pocket 4k better than sigma
@@asadkhan3089 Full-frame lenses are expensive (whether it's AF/MFonly) and .dng file is heavy, you should plan bigger SSD solution so.
It's money-matter
Justin, thanks for showing footage with the A7SIII. Do you keep Autofocus on usually? I am not going to lie though, but I honestly hated this video. The music is distracting and the color grading is horrible -- way too many highlights and weird shadows. Also, your stabilization is bad because I can see micro jitters -- have you ever heard of gyro stabilization? In the future please don't waste people's time with these sub par videos. Please do your research ahead of time.
I would appreciate if you check out my recent videos and provide HONEST feedback. I am trying to improve my HDR performance. Subscribe if you enjoy :)
what
@@merlinproductions7374 I’m looking for your expert opinion haha
It’s crazy how Sony is trash garbage look it’s insane 😅 thx because all the Sony fan boy must be so embarrassed how horrible is the real quality without using a ton of post pro to get it somewhat acceptable 😊
Yeah i mean everyone wants to say ph he didnt grade it right or whatever the case may be, but then it would all be trash. Whcih maybe it is, but the reality is there. Im literally just showing the realities of the sensor. Glad to see others are noticing it as well.
@@JustinPhillip does the FP still has no opengate ? How can we shoot anamorphic? Any tips
The amount of BS in this video is mind boggling. RAW has nothing to do with the ability to pull info in the shadows. Thats literally has nothing to do with it being RAW. You can't change the max possible dynamic range of the sensor. And as someone who use them both together I can attest Komodo and A7siii/FX3 has similar level of DR (although disributed differently at different exposures) and fp definitely has much less than either of the other two. We can sit here and call Sony not a "cinema camera" while Greg Fraser literally shot an entire big budget Hollywood film on it. Jokes on us.
"Well...you know, that's just like...your opinion, MAN."
@@JustinPhillip unlike our opinions, RAW is what it is and isn't what it isn't.
terrible acting lol
Show us what you got, SlapMehh!!! (btw, your try at insulting me does not bother me oNE bit. I've been a working actor in this town since i was a teenager.) So you know, if you took this bully energy and put it towards your guitar skills maybe you'd have more than 12 subscribers. WUSSUP HATERS?!
@@JustinPhillip haha someone got triggered