NAB 2025 Predicitions

Is there already a thread for this??

I would love to begin speculating wildly...

Also, I'm really just hoping someone says something about a Pyxis Pro/ g2

The fact that the Pyxis Monitor JUST started shipping tells me nothing new on the Pyxis models, IMO.
If anything, we may see a 7" Monitor version but with limited NITs.

I think they may showcase some Broadcast stuff. Maybe doing something wild with the URSA Cine body design and utilizing broadcast/studio components? I just don't know if they are ready to give up on the Ursa Mini body, though.

My prediction will be a V2 Pocket Cinema Camera OG. HOW AWESOME WOULD THAT BE?
- small form factor
- takes more efficient batteries
- small articulating screen
- L Mount
- s35 sensor, 13 stops of DR
- 48fps limit or 36fps for heating/cooling purposes or something

My hope is pocket form for a 8k wrgb sensor in a full frame size to reduce diffraction.


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My hope is for an URSA Cine Mini 12K. Just a slightly smaller and lighter version of the URSA Cine that gets rid of the side LCD in favor of side plate like with the PYXIS. Speaking of PYXIS a PYXIS Pro would be nice. PYXIS Pro with internal ND.

I could see them releasing a Pyxis 8k that uses the 12k RGBW sensor, but limits it to 8k 60fps. The body would probably be slightly bigger to accommodate heat.

I do think that Blackmagic will update the Broadcast line a bit as well. There seems to be finally a reason to separate Broadcast and Cinema lines more effectively.

Maybe an 8K Broadcast Camera will be debuted. There's definitely room for them to take Broadcast to the next level with Camera 2 Cloud integration. So, I do expect more Wireless Cloud capabilities with the Broadcast line.

I really want to see another price reduction on Blackmagic Cloud Storage. Getting closer to what Google Drive and Drop Box offer price wise per TB. That's key to winning over more enterprise clientele and low budget filmmakers. I know that superior Cloud capabilities will make more people use DaVinci Resolve and Blackmagic Cloud.

The Storage Devices need redundancy via Spinning Disk Drives. I love that Blackmagic uses next level SSD technology. However, I think that an attached RAID Disk Array would be ingenious. Having that back up drive array could be clutch. But I'd love to see the Cloud Store devices get some updates to entice more people to use them.

All of this feeds both Cinema and Broadcast with regards to Cloud. But I guarantee it's the Broadcast world that needs to foot major part of the bills. So Blackmagic needs to make it most appealing to the Broadcast world first before us indy producers.

I think the Resolve integration however for cinema filmmakers and the rest of the commercial and music video industry will see major enhancements for Cloud Services. But again, I think Broadcast will see the biggest updates there. I'm very excited to see what crosses over to the Cinema line.

I also suspect Video Assist updates. Fingers crossed for Wireless Video Assist. (Finally) Something I've been asking for a few years. So, possible with direction they are heading.

Resolve 20 is an obvious. Can't predict what's there. But more Cloud for sure.

Those are my predictions beyond my earlier post.

My hope is pocket form for a 8k wrgb sensor in a full frame size to reduce diffraction.

Would be wonderful, Carlo! But being a completely new sensor design, it carries the lowest probability, IMHO. If they go for something based on the new sensor technology, they might rather do something like in the original BMPCC: windowing it.

I'd just be thrilled with updated firmware for BMPCC4K and UMP 4.6k G2 ... sigh.

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The doctor says: you can start breathing again, Neil

I know this may sound crazy, but I don't think it makes sense for them to release a Pyxis Pro with built-in NDs.

First, The Pyxis is meant to be a "rigging" camera, so you make it what you want. The "built-in ND crowd" have found solutions using the L mount with a Poco to PL mount.

I have product management experience and the Pyxis is just too new to release any hardware updates, they need to maximize what they spent on R&D first. Maybe next year they might update the sensor to 8k.

They could, however, introduce more "accessories" for the Pyxis and this could include something to satisfy that "built-in ND crowd" and get more sales without creating a whole new Pyxis Pro camera and all that goes with it.

My idea, and I hope they had the same one, is to steal the Mofage Poco sales by offering a new mount for the Pyxis.

This new mount could be a proper 1st party version of the Poco idea, where they make a variable ND that is a Pyxis PL mount replacing the existing camera mount. It would be much more secure than a Poco since it would be screwed in and replace the current mount on the camera, kind of like how you can change the mounts on the Ursa. This would maximize sales because you could sell it separately, and existing owners could upgrade their cameras easily, and not crater the Pyxis resale market. This is critical, the resale value for a camera is how some people justify a larger purchase, and the existing Pyxis is too new to release a whole new version without tanking the resale market.

If they wanted to be amazing, they would make the adapter not use polarizers for the VND but an electrochromic variable ND filter like RED offers for their cameras. It wouldn't be cheap for an electrochromic version but around 1K would be reasonable. Even $500 USD for a polarizer based version would work considering what Mofage charges for the Poco.

I know this may sound crazy, but I don't think it makes sense for them to release a Pyxis Pro with built-in NDs.

First, The Pyxis is meant to be a "rigging" camera, so you make it what you want. The "built-in ND crowd" have found solutions using the L mount with a Poco to PL mount.

I have product management experience and the Pyxis is just too new to release any hardware updates, they need to maximize what they spent on R&D first. Maybe next year they might update the sensor to 8k.

They could, however, introduce more "accessories" for the Pyxis and this could include something to satisfy that "built-in ND crowd" and get more sales without creating a whole new Pyxis Pro camera and all that goes with it.

My idea, and I hope they had the same one, is to steal the Mofage Poco sales by offering a new mount for the Pyxis.

This new mount could be a proper 1st party version of the Poco idea, where they make a variable ND that is a Pyxis PL mount replacing the existing camera mount. It would be much more secure than a Poco since it would be screwed in and replace the current mount on the camera, kind of like how you can change the mounts on the Ursa. This would maximize sales because you could sell it separately, and existing owners could upgrade their cameras easily, and not crater the Pyxis resale market. This is critical, the resale value for a camera is how some people justify a larger purchase, and the existing Pyxis is too new to release a whole new version without tanking the resale market.

If they wanted to be amazing, they would make the adapter not use polarizers for the VND but an electrochromic variable ND filter like RED offers for their cameras. It wouldn't be cheap for an electrochromic version but around 1K would be reasonable. Even $500 USD for a polarizer based version would work considering what Mofage charges for the Poco.

Considering how the Pocket 6k Pro was delivered, it would have to be a new body design (at least a partial), and most likely a permanent EF or PL mount. I think having an L Mount version for myself has been wonderful. I can throw a simple single screw-on ND for super lightweight shoots, or rig it up with a Mofage POCO, or use a 3-stage matte box. That's what the L Mount version gets me. It also allows me to utilize my Canon FD lenses and some other vintage glass that can't fit on EF or PL.

It would still be great to have options! But by then, I'd want a new sensor that's better in every way..

Thought about this and one new Blackmagic Product for NAB: Lens Motor & Hand Unit

I’ve been asking for a few years and figure why not add it to my prediction.

Even more the Hand Unit can come t to the BMD Cam App for iPhone and Android to control focus remotely on those. Can even control focus and iris remotely for L Mount lenses when set to camera control and autofocus mode. Does so via camera and lens contacts. But for cinema lenses lens motors are needed and BMD will have those.

The whole system works not only with PYXIS but also URSA Cine. More advanced features with UCine cams and lens motors. Lens motors powered via camera Lemo ports. Communication via same Lemo connections.

Even the ability to Map dumb cinema lenses that lack data contacts. Memory for up to 15 lenses to be saved as profiles.

Yes, this is something I’d love to see at NAB.


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Maybe they will make a body for their phone app and some form of AI focus. a sub 1.5k camera. Maybe like the original pocket camera.

Ricardo Marty

In other brands…
I think Sony may have a refresh with some mkII bodies and some added Raw features. I’m not a Sony user but I can only imagine the GIANT wave of people flocking to preorder an FX6 G2, if something like that is in the pipeline.

It seems wireless tx/RX units are becoming faster as a base-model like 30ms for around $1000. I think we’ll see more brands announce something.

Pro-Res raw seems to be being implemented into more bodies.

And Man, oh man, if BMD releases a wireless video unit… that would sell so well.

You know we haven't seen any footage from the URSA Cine 17K 65. So, I bet there will be a major announcement with regards to it now shipping and a showcase of some of the amazing demo footage from the camera.

Maybe Blackmagic Design will announce a partnership with a lens manufacturer for some 65mm coverage lenses that work perfectly with the URSA Cine 17K 65.

NAB 2025 will be there year of 65!

Always Good to Dream ............

When I was young , I said " I know , I know " ..

Today , a bit older , I know .. you never know .... that's all I know , but I know it ....

Mike ..

24” OLED Video Assist?

… I know .. you never know .... that's all I know , but I know it ....

Mike ..

Well spoken!

Yes Rick .. just my small experience in this Life .. some Philosophy , and , also , kidding a bit ..

More seriously .. maybe , as a first approach , Medium Format Lenses could be a Solution .. Hasselblad , for instance ( free advertising ) , makes Beautiful Prime Lenses , all a Collection .. for the XCD Mount . But a Still Photography Lens is not a Cinema Lens , so , what about a possible Breathing ? It would be possible for a Third Party Company , to adapt the Optics , do a rehousing , with the appropriate Mount .. but the final Lens would shure be very Expensive ..

It's a very High End , and very Narrow Market .. Most Cinema Teams do not own their equipment , they rent it ..

Arri has all a Collection of Lenses for the Alexa 65 , but it's the Arri System ..

Sigma is very good at creating Optics .. lenses for both Photography , and Cinema ...

Anyway , to begin simply , Medium Format Lenses with appropriate Adapters , could be a Solution . Maybe it's possible to find them in Rental Companies ..

We'll see what is going to happen .. very Interesting ..

Life is like a Fistful of Sand you pick up on the Beach .. You have it in your Hand , you think you'll keep it , you think you have the Knowledge .. but the Grains of Salt fly among your Fingers , and , in the End , nothing remains in the Palm of your Hand .. You thought you knew , and you Realize you have just Questions , remaining ..

Every Day is a new Day .. and it's good to be here .. Spring is coming ..

With my Best Regards , take it Easy , and stay Safe ..

Mike ..

If and when the proposed tariffs (for goods and services from Canada, Mexico, and China) of the US administration arrive before NAB 2025 (expected February 4th or April 2nd), I know Canada is proposing immediate countervailing tariffs on goods from USA. Difficult to predict, but I’m hopeful this will not mean increased duties on cameras and related professional equipment given that Canada does not have a native camera production industry to protect. So I’m the optimist predicting either country’s tariffs won’t impact our experience of NAB 2025.

I know this is in cinematography, but given this the NAB 2025 PREDICTIONS thread I'll stick it here!!

Hoping they do something way more meaningful with live replay capacity. It's all there to be put together in a hardware solution with a proper UI rather than the Resolve path.

Other than 3Play or Ross Mira there really isn't anything out there in this space (I'm not putting vMix in here which may offend some!!) before you move way up the scale to EVS. A huge opportunity for the right product.

Matt, you may be prescient.

We know NAB is really about broadcast with a side channel for cinematography, and we know BMD always shows some special love for broadcasters. We shall see what that means in a few weeks.

24” OLED Video Assist?

Would love to see this.

I don't see anything coming to NAB other than accessories for their current line up of camera.
Accessories only start shipping and the URSA CINE 12K is a lot of R&D $$ to even start to split its technology to cheaper camera model.

Single reader for their URSA CINE 12K SSD instead of the big rack would be a thing if they want to sell this camera to CAM OP and Rental.

This and a few resolve updates.

Well, considering the URSA Cine 17K is not fully shipping yet I'd say yes to a lot more URSA Cine accessories. But especially the 17K being announced to be shipping. They will definitely showcase demo footage from that new camera.

Then the URSA Cine Immersive will definitely be demoed in large part.

(UC Immersive at SXSW.)

Then Shane Hurlbut with the URSA Cine 12K:

I don’t know what or when Shane will be shooting next, but certainly looks like it answers the question. what camera he’ll have on set.

I saw that. I was surprised, I have watched him for years and this was one of the strongest endorsements of a product I have ever seen him do.

Hi

1. The Video Assists monitors have not been updated in years, to my knowledge. It would be great if they introduced USB Type-C models which can be used with the new line of cameras, thus reducing cables/power issues and allowing to record ProRes and other flavours on the new cameras that only record BRAW.

2. A firmware update on the new Pyxis and other cinema cameras to allow for internal ProRes recording would also be another welcomed feature.

3. Too early for this I guess, and it's also been mentioned on previous posts, internal ND on the Pyxis.

4. Two mini-XLRs on the Pyxis.

5. A better cover for the card slots on the Pyxis. I live in a vert hot, sunny country and all the rubber parts of my Ursa Mini Pro 4.6K disintegrated, leaving XLR ports exposed to sand, humidity and other elements. I would hate to see card slots exposed like that.

G

No predictions from me, only a really niche want...

I really want a Pocket 4k G2 in a teeny box style. The Pyxis Micro? The Myxis? Yeah yeah I know M4/3 is dying, but I have a ton of great vintage super 16 glass in PL that I use with the Metabones adapter on my P4ks and for me it's still one of my favorite things to shoot on.

But if the sky is the limit, an Ursa Micro 16 or some such with native PL and a super16 sized sensor. I'd even take bog standard 4k as long as the readout speed was awesome. One can dream!

Three weeks away from the curtain rising at NAB2025 April 5, 2025 and possibly two weeks away from an email from Grant Petty giving us some information about new products and services we can expect from BMD. Either we already know much of what is coming like the Cine 17K and Cine Immersive or BMD is keeping some inevitably surprising revelations to themselves for now.

My BMD contacts basically all say same thing: we only find out the night before. Every year.

Blackmagic is very good at preventing leaks.

But my buddy was raving about the PYXIS yesterday. So I do want to add it as a B-Cam after I get all I need for the UC12K. Fingers crossed there is a Pro version with internal ND.

One thing I do hope Blackmagic announces at NAB is a redundancy recording to the second media card. Since my buddy told me that they had an Angelbird card failure and they lost their footage it seems to be the only thing Blackmagic is still lacking. Not Blackmagic fault for faulty media cards (unless it’s a media module) so redundancy recording is a must for cameras with two card slots.


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Anything smaller than the Ursa Cine 12k LF (using the same sensor) will cannibalize the Ursa line. The only reason I didn't get a Pyxis is because of the sensor and the data rates. Keeping my Ursa Mini 12k OLPF for now. It's beautiful and has high data rates when I need them. If it was FF I wouldn't even consider anything else.

No predictions from me, only a really niche want...

I really want a Pocket 4k G2 in a teeny box style. The Pyxis Micro? The Myxis? Yeah yeah I know M4/3 is dying, but I have a ton of great vintage super 16 glass in PL that I use with the Metabones adapter on my P4ks and for me it's still one of my favorite things to shoot on.

But if the sky is the limit, an Ursa Micro 16 or some such with native PL and a super16 sized sensor. I'd even take bog standard 4k as long as the readout speed was awesome. One can dream!

The Micro 4K G2 has the Pocket 4K sensor in it. It's an amazing little camera to mount and can be used on a tiny gimbal. Image quality is equal to Pocket 4K.

Are the Studio Cameras (especially 6k) due to be refreshed?

Are the Studio Cameras (especially 6k) due to be refreshed?

I wonder how many Studio Cameras they have sold. I know a lot of houses of worship that use the Ursa Mini Broadcast 6k to great success. I can't fathom another sensor doing as well in that style of body for that purpose unless it's the 12k sensor.
When they launched that, I believe, they also delivered a live monitor with real-time adjustments that was pretty decent.

One thing I do hope Blackmagic announces at NAB is a redundancy recording to the second media card.

Using the Blackmagic Design Cloud Pod, you can plug 2 USB-C SSDs to it and use Automatic Dropbox Sync Support Software Utility for Windows. When paired with the proper storage media, 12K raw workflows are supported.

With the Blackmagic Cloud …the Cinema Camera 6K, PYXIS, URSA Cine and URSA Broadcast G2, to record a full resolution HD proxy in H.264. These files are live synced to Blackmagic Cloud as they are recorded, and then also live synced down to all DaVinci Resolve workstations that are connected to the same cloud project.

With the URSA Cine 12K, clips can also be uploaded straight to your own private Blackmagic Cloud storage directly without syncing to a Resolve Cloud project.

You would use the URSA Cine’s 10G RJ45 port to a switch, and record to the Cloud Pod’s SSDs though its RJ45 port on that switch.

In the setup menu, you can select either Proxies only, or Originals and Proxies for Blackmagic Cloud File Uploads to your Blackmagic Cloud account.

I'm hoping for a new pocket 4k that reclaims the 'pocket' name. Something that really works on the portability and usability in a small form without any additions. Small form, small but bright screen and a good battery life.

The age of big expensive cameras or just big cameras that are reasonably priced is over for the owner operator market. I wasnt suprise the 12k Cine LF body even at that price did'nt shift at several popular retailers in the UK. Cameras that need a crew to operate are numbered for the budget filmmakers who want to own their gears. We will see NAB if there is a trend towards small high specced cameras that is one man band friendly.

... Cameras that need a crew to operate are numbered for the budget filmmakers who want to own their gears. We will see NAB if there is a trend towards small high specced cameras that is one man band friendly.

Pyxis Pro maybe, but I’m not sure what specs you’re looking for that the current Pyxis doesn’t meet for sole operators.

The age of big expensive cameras or just big cameras that are reasonably priced is over for the owner operator market. I wasnt suprise the 12k Cine LF body even at that price did'nt shift at several popular retailers in the UK. Cameras that need a crew to operate are numbered for the budget filmmakers who want to own their gears. We will see NAB if there is a trend towards small high specced cameras that is one man band friendly.

FWIW, I had to wait for the 12k Cine LF body in the US as all US retailers are still waitlisted.

Its less than a month away to nab nothing said. Maybe its to big to announce until naB or theIr realy isnt nothing at all

I would like a new camera with AF and AF tracking. Thinking that Sony has accepted giving BMD the ability to use its raw output for braw maybe bmd got a hold of sonys af technology.
Just dreaminig

Ric Marty

One thing I do hope Blackmagic announces at NAB is a redundancy recording to the second media card.

Using the Blackmagic Design Cloud Pod, you can plug 2 USB-C SSDs to it and use Automatic Dropbox Sync Support Software Utility for Windows. When paired with the proper storage media, 12K raw workflows are supported.

With the Blackmagic Cloud …the Cinema Camera 6K, PYXIS, URSA Cine and URSA Broadcast G2, to record a full resolution HD proxy in H.264. These files are live synced to Blackmagic Cloud as they are recorded, and then also live synced down to all DaVinci Resolve workstations that are connected to the same cloud project.

With the URSA Cine 12K, clips can also be uploaded straight to your own private Blackmagic Cloud storage directly without syncing to a Resolve Cloud project.

You would use the URSA Cine’s 10G RJ45 port to a switch, and record to the Cloud Pod’s SSDs though its RJ45 port on that switch.

In the setup menu, you can select either Proxies only, or Originals and Proxies for Blackmagic Cloud File Uploads to your Blackmagic Cloud account.

That doesn't exactly sound like the best way to implement redundancy recording. You're still reliant on on media source on board the camera. Now, the Media Module may be a Raid and may be more efficient. But for the CFExpress Cards it makes sense to do dual card redundancy recording. After all, I said it was an Angelbird CFExpress Card that failed mid shoot for a friend and they lost all their footage.

So relying on wireless for this redundancy is not ideal at all.

If you have two CFexpress card slots, then another possible way to have dual recording for redundancy is record BRAW at twice the project frame rate on alternate cards e.g. record 50 fps on dual cards when you really only want 25 fps in your post.

... Cameras that need a crew to operate are numbered for the budget filmmakers who want to own their gears. We will see NAB if there is a trend towards small high specced cameras that is one man band friendly.

Pyxis Pro maybe, but I’m not sure what specs you’re looking for that the current Pyxis doesn’t meet for sole operators.

Continous AF tracking, in body stabilisation, good sensor readout speed, built in NDs, higher framerates options, 16 stops of DR in a small body surely achievable.

A 27” or 32” color accurate HDR 12-bit grading monitor for color grading with Resolve that’s under $500.

Hi, this my first post so I hope I am not any stupid question. I am thinking about buying a Pocket 6K camera this month and this will be quite a investment for me and my first cinema camera. I am not really familiar with BM way of delivering new products but from this thread it seems that they usually do on this event.
With that in mind, do you think that it would be perhaps better to wait until the event (I think April 5th) until I get the camera in case they release a new model or some other option?

Thanks!

A Pyxis 12K Cine LF would be absolutely bonkers. Even if it would only allow for a downsampled 8K readout (for heat reasons).

Is there an emoji to express salivating? 16 stops for a camera likely under $5K, demand would exceed supply.

I would be happy with an updated Ursa Mini 12k OLPF V2 that uses CFexpress Type B media vs. original CFast.
It would give us the ability to fully utilize S35 at max compression + frame rates.

Not having a modern internal recording solution was the weakest point of the original 12k camera / along with the fragile USB connection point for the SSD recorder.

Given the heat from the sensor BM has to deal with, I'm doubtful about 12k in a Pyxis form factor for the moment. I still think the Ursa mini form factor strikes a good balance in terms of power draw (14v) manageable size, and value (hoping they knock down the price further to differentiate it from the larger Cine 12k). Which seems in line with Blackmagicdesign's business strategy over time.

-Manuel