Sigma FP weekly build 3

 

This week, I’m showcasing what I call my BTS videography build—a setup tailored for run-and-gun shooting, with no focus on audio. I primarily use this build in the pit at music festivals or concerts, where recording audio is impractical. The proximity to the speakers makes it excessively noisy, resulting in distorted and unusable sound. When audio is required for the video, I can obtain a clean recording directly from the sound stage.

 

 

The accessories that I will be using are:

1. Sigma Hand Grip HG-11 (Amazon Link)
2. DPL Sigma fp Lite SSD rack(Aliexpress Link)
3. DPL fp Mate SSD rack Sigma fp L M42 case (Aliexpress Link)
4. Sigma LVF-11 LCD Viewfinder (Amazon Link)
5. ULANZI Claw Quick Release Plate(Amazon Link)
6. YELANGU DVGoPro camera handle(Sorry, no Amazon link, only a Taobao link to buy it from)
7. Peak  Design anchors for a camera strap (Amazon Link)

 

 

The Sigma FP benefits from a grip to enhance comfort during use, and the Sigma FP Hand Grip HG-11 serves as an excellent compact option. It is easy to install, feels well-constructed, and includes a single mounting point. I use this mounting point to attach a Peak Design anchor for my camera strap.

 

 

 

 

As it stands, the camera is compact, and the added handle and camera strap make it a neat, portable photo setup. However, for me, this is just the starting point.

 

 

The Sigma LVF-11 LCD Viewfinder is exceptionally well-built, and its performance on the Sigma FP is surprisingly impressive. Initially, I assumed that a magnified image of the LCD screen would look poor, but I was pleasantly proven wrong. The Sigma LVF-11 is indispensable for bright, sunny conditions, as the LCD screen can be challenging to see in strong daylight.

The only drawback of the Sigma LVF-11 is its diopter, which adjusts only from +2 to -2. As someone who typically requires a -3 setting, I’ve had to adapt to this minor limitation. Despite this, I generally prefer the Sigma LVF-11 to the Sigma Electronic Viewfinder (EVF-11) for run-and-gun shooting. The EVF-11 often gets disconnected in the camera bag, and troubleshooting connection issues can be too time-consuming. For time-sensitive tasks, the optical viewfinder (OVF) is the better option.

While the Sigma Electronic Viewfinder (EVF-11) delivers incredible quality, it requires adequate time for setup and testing before recording—a luxury I don’t usually have when working backstage.

 

 

The Sigma LVF-11 LCD Viewfinder installs incredibly easily and fits perfectly, as if it were a factory-made part of the camera. There’s no wobble, no flexing, and no issues apart from the diopter’s limitation. I truly enjoy using the Sigma FP with the LVF-11, but it does significantly increase the camera’s bulk, requiring more space in your camera bag.

 

 

With the Sigma FP paired with the Sigma LVF-11 LCD Viewfinder, the setup is beginning to resemble a whole new camera, almost ready for video shooting. However, at this stage, we’re missing an SSD for raw video recording, which will be the next essential addition to complete the setup.

 

 

The DPL Sigma FP Lite SSD rack is an ideal addition, providing raw video capabilities while maintaining the camera’s compact footprint.

 

 

 

The Sigmap FP is now a fully fletch Raw video beast.

 

 

The Sigma FP, viewed from behind with everything installed, showcases its current build. You can see that the Sigma FP remains sleek and compact, with minimal bulk added.

 

 

With the DPL Sigma FP Lite SSD rack installed, the camera is now ready for video shooting. However, handheld use in a busy environment, like a music pit, would be quite challenging. To enhance usability, the next step is to integrate the ULANZI Claw Quick Release Plate system. This addition allows for seamless swapping between a camera handle, monopod, or gimbal.

 

 

Installing the ULANZI Claw Quick Release Plate system is a breeze. Once the plate is securely in place, switching between different shooting setups becomes effortless.

 

 

Switching between the plastic camera handle and the small fluid head tripod is incredibly straightforward and can be done in no time—crucial for run-and-gun video work in a music pit. For those unfamiliar with concert or event shooting, photographers and videographers are often allowed to capture only the first three songs of a band’s set, which can amount to less than nine minutes. This happens in a tightly packed, high-pressure environment filled with fellow professionals. As such, all your gear must be quick to set up and free of complications. This is my current setup, and it performs exceptionally well under these conditions.

 

 

This is the current setup with the plastic camera handle. I aimed for something resembling a director’s viewfinder with the flexibility to tilt the camera, but I haven’t quite figured that part out yet. I plan to experiment further with this build in the future. For added convenience, I typically attach a Peak Design anchor to the end of the handle, allowing me to carry the camera on a strap as I walk around.

 

 

With the build now complete, the camera is ready for use. I truly enjoy working with this setup, though it’s not without its imperfections. In the future, I plan to replace the plastic handle with a wooden one and add the ability to tilt the camera directly from the handle. However, all good things come to those who continue to experiment with and refine their builds.

 

 

 

This is my build for this week. I will build another camera setup next week. Until then, happy shooting.

 

Shaun