Sigma fp 2019

The Sigma fp packs a full-frame 24.6MP sensor and 12-bit CinemaDNG raw video into a 370g body that's smaller than most APS-C cameras. Image quality and low-light performance are genuinely excellent, and the modular design is a video shooter's dream. But contrast-detect autofocus, zero in-body stabilization, and a fixed screen make it a frustrating stills camera. Prices swing wildly from USD 1,010 to USD 2,409, so shop carefully. If raw video in a tiny package is your priority, this is a unique buy. If you need reliable autofocus and handheld shooting, look elsewhere.

The 24.6MP full-frame BSI sensor is the star here. Image quality is genuinely excellent, with 14-bit color depth and a base ISO range of 100 to 25600 that expands down to ISO 6 and up to 102400. Low-light performance gets consistent praise from owners, and the color science is one of those things Sigma just nails. The 12-bit CinemaDNG raw recording is the headline feature for video, and it delivers footage with real grading flexibility. You're getting raw video internally to an SSD, which is still rare at this price point.

Burst shooting hits 18fps with the fully electronic shutter, which puts it in the 84th percentile for burst performance. That's impressive for a camera this small, though the contrast-detect autofocus means you'll get plenty of frames but not all of them will be in focus on fast-moving subjects. The 49-point AF system sits at the 70th percentile, which sounds okay until you realize it's contrast-based only. For stills, it's workable. For video, it can hunt and pulse, especially in lower light. The lack of in-body stabilization is the other big performance caveat. Sigma mentions electronic image stabilization, but that's a crop-and-pray solution, not a replacement for real IBIS. Handheld video without a stabilized lens or gimbal is going to look shaky.

The Panasonic LUMIX S5 II is probably the most direct competitor, and it's a tough one. It shares the L-mount, so your lenses carry over, but it adds in-body stabilization, phase-detect autofocus, and a proper EVF. The S5 II is bigger and heavier, but for most hybrid shooters it's the more practical choice. The Sigma fp counters with raw video recording and a much smaller footprint. If you're rigging up a cinema setup, the fp's modularity and CinemaDNG output are genuinely appealing. If you're shooting handheld run-and-gun, the S5 II wins.

The Sony a7R V is a different beast entirely. It's a high-resolution stills monster with autofocus that embarrasses the fp. But it's also much more expensive and much larger. The Fujifilm X-H2S is interesting because it matches the fp's speed with 40fps burst and adds stacked sensor benefits, though it's APS-C. The Nikon Z5 II and OM System OM-1 round out the competitive set, with the OM-1 being the wildlife and action pick thanks to its computational features and stabilization. None of them match the fp's size-to-sensor ratio, but all of them beat it on autofocus and stabilization.

Pricing on the fp is all over the place depending on where you look. In the US, listings range from USD 1,010 to USD 2,409 across five listings. That's a USD 1,399 spread, which is wild. If you can find one near the low end, you're getting a full-frame raw video camera for barely more than some APS-C bodies. At the high end, you're paying more than a Panasonic S5 II, which has IBIS, phase-detect autofocus, and better battery life. Shop carefully. The best US deal in our data comes from the listings at the lower end of that range, so it pays to compare store names before you click buy.

Canadian buyers face a similar spread, from CAD 1,392 to CAD 2,899 across four listings. That's a CAD 1,507 gap. The value proposition really depends on which end of that range you land on. Near CAD 1,400, the fp is a compelling raw video tool. Near CAD 2,900, you're in territory where the competition gets very stiff. The bundled 45mm f/2.8 DG DN Contemporary lens is a nice pairing if you can find it included, since owners consistently praise its sharpness and portability.

The Sigma fp is one of those cameras that makes you do a double take. It's a full-frame sensor stuffed into a body that weighs 370 grams, which is lighter than some lenses I've carried around. Sigma basically looked at the mirrorless market and said, what if we made the smallest full-frame camera possible and pointed it squarely at video shooters? The result is a quirky, modular little brick that shoots 12-bit CinemaDNG raw internally, something cameras twice its price sometimes skip. It's not for everyone, and that's kind of the point.

Who is this for? If you're a hybrid shooter who wants a pocketable full-frame camera for travel, or a video person who values raw recording over creature comforts, the fp makes a strong case. The travel score in our database sits at 67.1 out of 100, which is solid, and streaming comes in at 66.3. But if you're a vlogger, the 47 out of 100 score tells you everything you need to know. No flip screen, no in-body stabilization, and contrast-detect autofocus that hunts. This is a camera that rewards patience and a tripod.

What makes it interesting is the philosophy. Sigma didn't try to beat Sony or Canon at their own game. They built a modular system where you can bolt on grips, viewfinders, and SSD mounts. The L-mount gives you access to Sigma's excellent Contemporary and Art lenses, plus Panasonic and Leica glass. It's a weird, wonderful little camera that feels more like a cinema tool than a consumer gadget.

If you shoot handheld video or vlog, skip this camera. The lack of in-body stabilization combined with contrast-detect autofocus means your footage will be shaky and your focus will hunt. The fixed screen doesn't flip forward, so you can't see yourself while recording. The vlogging score of 47 out of 100 in our database reflects all of this. Look at the Sony ZV-E1 or Panasonic S5 II instead, both of which have IBIS and reliable autofocus.

Sports and wildlife photographers should also look elsewhere. The 18fps burst sounds great on paper, but contrast-detect autofocus can't keep up with fast, erratic subjects. You'll get bursts of frames with inconsistent focus. The OM System OM-1 or Fujifilm X-H2S are much better choices for action, with phase-detect autofocus and subject tracking that actually works. And if you need a camera that just works out of the box without a learning curve, the fp's modular approach and menu system might frustrate you more than it inspires you.

For video shooters who want raw recording in the smallest possible package, the Sigma fp is a genuinely special camera. The 12-bit CinemaDNG output is the kind of feature you'd expect on a much more expensive cinema body, and the modular design means you can build it up or strip it down depending on the shoot. Pair it with a gimbal or tripod, an external recorder for audio monitoring, and a fast L-mount prime, and you've got a capable little cinema rig. The image quality and color science are good enough that owners who shoot raw keep coming back to it.

For stills photographers, the fp is a harder sell. The contrast-detect autofocus is fine for landscapes, portraits, and slow-moving subjects, but it's not a sports or wildlife camera despite the 18fps burst. The lack of a viewfinder means shooting in bright sunlight is a squinty experience, and the fixed screen limits creative angles. If you're a hybrid shooter who leans stills, the Panasonic S5 II or even a used Sony a7 III will serve you better. But if you know exactly what the fp is and what it isn't, it's a unique tool that nothing else quite matches.