If you are happy with your exposure in-camera and just want uncompressed image quality with a fine film-like noise grain, along with the colour grading benefits of RAW as well, the 8bit 4K to SD card is going to give you beautiful results. The fact you can with the 12bit RAW however, says a lot about the quality of that! You cannot rescue something which is completely black, like you can with, say, a medium format 16bit RAW file. So, whilst it’s not true to say you can’t push the 8bit RAW files around to a dramatic degree, you do need to get a decent exposure across the frame in-camera for 8bit. I rate that result in 12bit as professional-standard cinema.
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Whereas with 12bit, the image maintains almost the full dynamic range of the sensor without issues… The results can be seen below… You’ll see a lot of false colour and banding in the deepest blacks.
When a region is VERY darkly exposed, it falls into the jaws of the 8bit clipping point where data gets lost. When a region isn’t too darkly exposed, like the fox picture in the shot below, you can raise the shadows without too many issues in 8bit. It’s the 12bit that makes all the difference and performs closely to 14bit RAW stills in terms of dynamic range. I found that the 8bit internal 4K Cinema DNG RAW and 10bit external performed similarly. If you don’t need to boost the shadows by 3-4 stops, or under expose by 3-4 stops to prioritise a particularly bright part of the frame, the 8bit RAW to SD card offers beautiful results. With the Sigma Fp it is definitely worth shooting 12bit RAW to a USB C SSD drive to make full use of the dynamic range.
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