Pyxis 12K

I went with 2 Lexar 4TB Professional GOLD CFexpress 4.0 Type B Memory Cards

They’re not on the approved media list, but based on the read/write speeds I gave it a shot, especially considering they were on sale for $800, so I got 8TB of media for $1,600 which seemed like a pretty killer deal

But again, I’m very much rolling the dice with these

...I don't think I'll be shooting much 3:1 40 FPS Open Gate, but would be nice to have cards that could in theory support that data rate. There seem to be a few cards at BH with the right write-rate, but they are not listed on the official Blackmagic recommended media list. So what cards are people in this thread going for? Looking for 1TB, 2TB max - ideally three of them at a decent price.

Based on Tim's experience, I went with AngelBird AV Pro v4 cards. 4 1 TB cards so that I'll have two per camera when I (eventually) get a Pyxis 12K.

They're rated for 3700 Mbps, and Angelbird cards are very reliable so I'm pretty confident in them.

Although it has an advertised 3700 MB/s maximum read rate, the Angelbird AV PRO SE CFexpress v4 Type B can record at a sustained rate of 2150 MB/s. If the Pyxis 12Ks interface supports the Compactflash Association 4.0 specification providing double speed using the PCI Express Gen4 bus and NVM Express (NVMe) 1.4c logical interface, then it should be capable of recording 12K 3:2 (Open Gate) Blackmagic RAW 3.1 at 40 fps. A 1TB card would hold 8.4 minutes of film. That's ((3600x2000) = (7,200,000/1,000,000)x$299.99) $2,159.93 USD per hour.

Sadly, it is not listed among the recommended drives for the URSA Cine 12K. Unfortunately, there are no recommended CFexpress v4 drives except for the Delkin Devices Black | CFexpress 4.0 Type B 325GB, 640GB, & 1.3TB and the OWC Atlas Ultra CF Express 4.0 Type B 2TB for recording at 1.2GB/s. Since they do not officially take advantage of their higher speed capability on the URSA Cine 12K, maybe these cards just using their backward compatibility mode with CFexpress 2.0.

Nowhere in the March 2025 URSA Cine 12K manual does it mention compatibility with the Compactflash Association 4.0 specification. This would be a major feature if they were to offer it.

The recommended (12K 3:2 (Open Gate) Blackmagic RAW 3:1 up to 24 fps) Angelbird AV PRO XT CFexpress 2.0 B Mk2 660, & 1320 GB cards can record at a sustained rate of 1480 MB/s. That is approximately the speed needed to record 12K 3:2 (Open Gate) Blackmagic RAW 3:1 30 fps on the URSA Cine 12K. This is almost in the middle of the range (664 MB/s - 2.4 GB/s) for recording 12K 3:2 (Open Gate) Blackmagic RAW constant quality Q0 at 40 fps.

Angelbird AV PRO XT CFexpress 2.0 B Mk2

AngelbirdAVPROXTCFexpressB.png (415.08 KiB) Viewed 11968 times

The Angelbird AV PRO SE CFexpress 2.0 B MK2 1TB, 2TB & 4TB are rated at a sustained 1300 MB/s speed which should be enough for 12K 3:2 (Open Gate) Blackmagic RAW 3:1 up to 24 fps, at 1.2 GB/s, but it’s not on the recommended list for Blackmagic RAW 3:1. They are on the recommended list, for 12K 3:2 (Open Gate) Blackmagic RAW 8:1 to 45 fps. They are available for half price as B stock on the Angelbird website.

For those with the Cine 12K LF camera, BMD’s 8TB module looks attractive. Even their future 16TB module will likely be attractive.

For those with the Pyxis 12K, I appreciate these intrepid brave explorers who go before me and hopefully make my own trail easier. Merci buckets!

For those with the Cine 12K LF camera, BMD’s 8TB module looks attractive. Even their future 16TB module will likely be attractive.

For those with the Pyxis 12K, I appreciate these intrepid brave explorers who go before me and hopefully make my own trail easier. Merci buckets!

I want to add the Media Module in the future. However I want a single Media Module Dock. I didn’t enjoy offloading from camera via Ethernet for the period I had to do it. Glad I have a CFExpress Card Reader now and that I’m using CFExpress Cards. But the Media Module does need some improvements on the back end of media offloading on set. Especially if you don’t need the 3 Bay Dock.

Otherwise, the 16TB is also really appealing. Especially for travel purposes.


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No argument there. Depending upon the computer or other device to which you are offloading the media, a three-bay module reader isn’t likely to offload three times faster than a single bay can do. You need independent buses on the receiving end which can run at full speed on an extremely fast bus. Any component that is shared will hit a wall that a single module offload never sees if the system is designed well.

I’m certainly open to hear from others including BMD who might publish transfer times from their three-bay dock when only one full media module is being transferred at a time versus when three modules are transferring concurrently. That would be interesting.

For those with the Cine 12K LF camera, BMD’s 8TB module looks attractive. Even their future 16TB module will likely be attractive.

Same, but I'd rather grow into it than start with it, in large part due to the limited and rather non-portable dock options.

When I do get a Pyxis, it's going to be an L-mount model so that I can use it as a nice and compact travel camera, but pop PL lenses on it with an adapter.

In talking with B&H Sunday shortly before closing for the holiday, it seems no 12K's arrived. Earlier in the week I was told the PL and EF mount would arrive sooner than the L mount, and the website supported this.

I was hoping to be shooting several projects this week with the 12K, but obviously I was way too optimistic. I guess that goes with the territory being a filmmaker.

On another note, I actually see now the Loawa Zero distortion 14MM PL mount lens is in stock. This week before they were in stock, they listed a used one in stock for a considerable discount and snagged it. Excited to see what it looks like on the 12K.

Nothing will arrive until we see actual test footages on BMD website and after the camera's firmware is released as always.

… I actually see now the Loawa Zero distortion 14MM PL mount lens is in stock. This week before they were in stock, they listed a used one in stock for a considerable discount and snagged it. Excited to see what it looks like on the 12K.

Kudos, Richard. Looking forward to seeing some tests using the 14mm. That would be good if you tested with a matte box as well to see if the matte box can support the 14mm angle of view. Many years ago when I bought my Bright Tangerine Misfit matte box, I remember the website warned their matte box would vignette any lens wider than 14mm. I believe they were referring to Super35 lenses and sensor configurations at that time.

Ok clearly I must be a little frustrated - late last night I made a funny (hopefully) YouTube short about all the Pyxis accessories I have sitting around

https://youtube.com/shorts/C82_ALyCOd8

If mine doesn't ship in a few days I'm going to return all of my accessories... don't want to be stuck with them outside of the return period. To be fair, both the B&H site and the person I chatted with expected an early June ship date. I guess we'll see what happens in the next few days!

Totally get that…which accessories are you apprehensive about specifically?

Not apprehensive about any of them, just don't want to own them outside of the return period in case I don't get along with the camera itself.

If mine doesn't ship in a few days I'm going to return all of my accessories... don't want to be stuck with them outside of the return period. To be fair, both the B&H site and the person I chatted with expected an early June ship date. I guess we'll see what happens in the next few days!

My plan is to call B&H when they reopen later this week and explain the ship date change. My accessories were supposed to be shipped with the Camera, but they suggested I release hold so the pro handle not being available doesn't hold up the camera shipment.

My guess is that they can notate the account to give an extended return date. They don't want to have to deal with the return and repurchase, so they may accommodate this.

Plus they do track how much you return things (just like Costco) so I prefer to have less returns on my account for those occasions when I need to ask for an accommodation of this nature.

Film and Digital Times Issue 131 (20th anniversary issue) online magazine includes articles on the URSA Cine 17K 65 and the Pyxis 12K LF:

https://www.fdtimes.com/issues/june-202 ... t-title_43

Received my right angle locking USB-C from Alvin's Cables today and it makes a very good impression. Definitely a cheaper alternative to the XLCS cable if anyone is still looking.

For what it's worth I just chatted with B&H and they said they have no ETA for the Pyxis 12K.

For what it's worth I just chatted with B&H and they said they have no ETA for the Pyxis 12K.

Yeah all that hype about June 1st ship date... I didn't buy into it. BMD never said that.

Also, as a side note, I was comparing the specs of the Alexa Mini LF and the Pyxis 12K and the frame rates are pretty similar. It's like the Ursa Cine is the full sized cam, and the Pyxis 12K is the Mini. Only the readout time is the "issue" but yeah.... Pretty excited for the Pyxis 12K.

For what it's worth I just chatted with B&H and they said they have no ETA for the Pyxis 12K.

Yeah all that hype about June 1st ship date... I didn't buy into it. BMD never said that.

Also, as a side note, I was comparing the specs of the Alexa Mini LF and the Pyxis 12K and the frame rates are pretty similar. It's like the Ursa Cine is the full sized cam, and the Pyxis 12K is the Mini. Only the readout time is the "issue" but yeah.... Pretty excited for the Pyxis 12K.

But the Alexa Mini LF has internal ND and the PYXIS does not.

Honestly, if Blackmagic went with the original concept of the URSA Mini and went with a mixture of UMP and PYXIS where there's internal ND, interchangeable battery mounts, interchangeable lens mounts, and a flip-out 4" screen with a status display on the outside then they would have gold. That would be the true Alexa Mini LF competitor, and the perfect companion to the URSA Cine 12K.

Tim, I must say I respectfully disagree. Let me explain:

Internal NDs:
The Pyxis might not come with internal NDs out of the box, but there are very good aftermarket adapter solutions available, if you want a PL-mount with behind the lens NDs. The shallow-flange L-mount the camera comes with opens way more possibilities than an Alexa mini or an Ursa Cine ever could. So the solution Blackmagic came up in a way is the best of both world: want an Alexa style internal ND? Go buy a Kippertie Revolva. Want to use L-mount lenses or vintage glass that cannot be adapted to PL? Here's a shallow mount that can be adapted to pretty much anything.

Interchangeable battery mounts:
The camera has a 2-pin lemo in for external power. That is all the interchangeable battery I could ever need. But wait there is more - do I want a super low-weight solution, then I can slot in a BP-U battery. Do I want a hot-swap solution? Again I can use a small BP-U battery. This is an insane value proposition for the features provided if you are familiar with the pricing of hot-swap plates from reputable manufacturers. Not to mention the bulk those tend to add.

The flip-out screen:
As someone coming from the Pocket 6K Pro, I know how nice a built-in movable screen can be. But the Alexa Mini LF body you are referencing doesn't have it. Instead they offer you an EVF with a flip-out screen. The cost of that? More than a Pyxis 12K body. The folding mechanism adds bulk, potential points of failure and is always going to be limited in terms of positioning. So something like the Pyxis monitor, for a ridiculous low price (less than the price of the cables for the CCM-1, which itself again costs more than a Pyxis 12K body).


So really, with all due respect, I don't get your complaints on this. Sure, Blackmagic will bring out a Pyxis 12K pro in due time, perhaps with some of those features. But the value proposition of this current offering is absolutely incredible to me.

But the Alexa Mini LF has internal ND and the PYXIS does not.

The Alexa Mini LF is also bigger and heavier than the Pyxis, and costs only $80,000 US for the base starter kit...

Honestly, if Blackmagic went with the original concept of the URSA Mini and went with a mixture of UMP and PYXIS where there's internal ND, interchangeable battery mounts, inter
changeable lens mounts, and a flip-out 4" screen with a status display on the outside then they would have gold. That would be the true Alexa Mini LF competitor, and the perfect companion to the URSA Cine 12K.

In other words, an Ursa Cine 12K but smaller.

One of the Black Magic reps said that the reason the Pyxis 12K doesn't have internal NDs is that there wasn't room for BMD's current ND system. That rep also mentioned that the only way to fit one would be to use an approach like Sony's electronic NDs, but the one BMD has wasn't good enough. That probably means that BMD is working on resolving that "not good enough" problem already.

… One of the Black Magic reps said that the reason the Pyxis 12K doesn't have internal NDs is that there wasn't room for BMD's current ND system. That rep also mentioned that the only way to fit one would be to use an approach like Sony's electronic NDs, but the one BMD has wasn't good enough. That probably means that BMD is working on resolving that "not good enough" problem already.

Rakesh, that’s very interesting and thanks for pointing that out as I missed that statement. As you know, I must wait a year to buy, but I’m not too upset with my financial delay as that does sound like something a 2nd generation Pyxis could offer. If it doesn’t happen, I’ll add the Revolva later.

Tim, I tend to agree with Paul. I don’t want a Pyxis Pro gaining significant weight in a hybrid of Cine 12K and Pyxis 12K. The Cine 12K is a superior camera, but the Pyxis 12K is already a likely Camera B to the big guy.

I’m very happy with Pyxis for my purposes, but would likely spring for a second generation model if and when it becomes available in 2026. Add continuous auto-focus tracking or internal ND,

As I’ve said previously:
Cine 12K Mini = Pyxis 12K

I think that's the difference. I want the URSA Cine Mini 12K basically. Just a bit smaller and lighter. But all the same wonderful features, sans side LCD, buttons on camera, 5" flip-out in favor of 4" flip-out, etc. You get the idea.

The PYXIS is awesome as a camera. Just not quite exactly what I want for my second camera. And, I think the PYXIS fits the needs of so many others. Especially those who want the L Mount.

If I'm going to go to L Mount it will be for purely for a stills camera. And, that's functioning as a replacement for my Sony E Mount system.

On the aspect of batteries I tend to prefer Gold, V, or B Mount options. And, having the ability to just put a plate on the back of the camera is most appealing. I hate having to "Rod Mount" a battery plate to use any of those options over the BPU style. The BPU batteries just don't appeal to me.

Either way, I hear a lot of your points. Understand that I'm requesting a more beefy camera that works as a smaller version of the UC12K. It's not for the PYXIS user market probably.

Agree 100%. I just used the Cine 12k on a shoot and overall loved it (especially the image). However, I kept wishing that the right side had a grip instead of the LCD screen. I understand that the side screen is a huge help on sets with an AC, but I never used it as a solo shooter. The weight didn’t bother me too much. It was mainly just the ergonomics of using it on a cine saddle or handheld.

Agree 100%. I just used the Cine 12k on a shoot and overall loved it (especially the image). However, I kept wishing that the right side had a grip instead of the LCD screen. I understand that the side screen is a huge help on sets with an AC, but I never used it as a solo shooter. The weight didn’t bother me too much. It was mainly just the ergonomics of using it on a cine saddle or handheld.

Yeah, that's the exact reason I want a smaller version that does the side plate option instead of the side LCD. I do love the side LCD of the URSA Cine when I'm using it as intended. But that doesn't mean I don't miss having a side handle on the URSA Mini Pro when doing handheld stuff.

There's room for both options in the lineup. So having the smaller URSA Cine Mini would solve that by providing another option to have in the arsenal.

Rakesh, that’s very interesting and thanks for pointing that out as I missed that statement. As you know, I must wait a year to buy, but I’m not too upset with my financial delay as that does sound like something a 2nd generation Pyxis could offer. If it doesn’t happen, I’ll add the Revolva later.

I'm fairly certain that BMD will incorporate NDs into the Pyxis 12K eventually, but when is anybody's guess.

It's just like when people were clamoring for a full-frame camera from BMD. I said then what I'll say now: BMD will include it when it's able to pull it off without compromising quality while still being affordable.

A Revolva would be a good solution also.

That said, I received my Dulens set today and discovered that my H+Y vari-ND fits them, so that's a win also. That vari-ND is around 8mm too small for my DZO Pictor zoom, which is one of the tradeoffs for constant aperture zooms. To maintain their aperture throughout the zoom range, they need to be bigger than primes of the same focal lengths.

Now that’s a nice find.

I think that's the difference. I want the URSA Cine Mini 12K basically. Just a bit smaller and lighter. But all the same wonderful features, sans side LCD, buttons on camera, 5" flip-out in favor of 4" flip-out, etc. You get the idea.

Maybe the second iteration of the Pyxis body design will include a flip-out monitor.

The PYXIS is awesome as a camera. Just not quite exactly what I want for my second camera. And, I think the PYXIS fits the needs of so many others. Especially those who want the L Mount.

If I'm going to go to L Mount it will be for purely for a stills camera. And, that's functioning as a replacement for my Sony E Mount system.

When I get around to getting a Pyxis 12K, it will be an L-mount model so that I can pop a compact L-mount zoom in it for travel, and pop the Dulens PL adapter on it for production use.

Either way, I hear a lot of your points. Understand that I'm requesting a more beefy camera that works as a smaller version of the UC12K. It's not for the PYXIS user market probably.

That's the tradeoff; BMD designed the UC 12K based on high end film production, which leads to it being a bit bulkier and heavier than a camera like a Pyxis, which sacrifices some of the erogonomics in order to save weight and cost.

Now that’s a nice find.

Another nice find was the PL adapter kit that Dulens makes; it has a ring for RF, Z, L, and E mount, and it was pretty reasonably priced at $322 CAD with those four rings included in the package.

A lot of size and weight gain just to implement an internal ND it might as well be a new camera or a UMP 12k LF and pehaps with the same readout speed and framerate of the Cine 12k but they would have to price it at $6k and that would under cut the Cine 12k and some Pyxis 12k sales.
Internal electronic NDs is probably the way to go if the Pyxis was to ever have internal NDs.
Personally its not a deal breaker as I find the stop increment and maxmum of 6 stops quite limiting and I tend to still use external NDs in addition. I see internal ND for emergency use.

For reference, this was a Still capture on the UC12K, and then the LOG exported out as a TIFF for import into Lightroom Classic, and the standard photo edit adjustments I’d do with any ARW from my Sony. And, this is why I say I want BMD to put this sensor into a stills camera.

Blackmagic may have to work with Adobe for BRAW stills to be able to read by Lightroom. May be a tall ask, but DaVinci Resolve is still a distance from the photo editing needs you get with Lightroom or Capture One. Capture One does have a relationship with DaVinci already that seems to mean BRAW support should be possible.

Truthfully the PYXIS should be able to get the same level of quality. I’ve provided a link to the full 12K resolution edited image for download from Google Drive for you to better analyze.

The image out of the 12K is simply phenomenal.

https://drive.google.com/file/d/1I9BZOp ... drive_link


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Pyxis 12k and Cine 12k stills may be graded quite close but they are different cameras. I doubt IQ will be exactly the same out of the cameras.

That frame grab looks great!

And that is one reason I'm planning to eventually replace my Komodo with a Pyxis; it's so that I can use it as a travel camera and treat it like a hybrid stills/video camera. I've done it with the Komodo, but for printing stills it's limited at 20 megapixels, while the Pyxis 12K matches a Fuji or Hasselblad medium format camera, except neither of those would be as at home on a film set as a Pyxis, making it a better dual-purpose camera.

For image editing for braw I'll probably use the same approach I use for Redcode nowadays: export the still from Resolve in full resolution in EXR format, then pop it open in Nuke for whatever else I need.

In any BMD camera that currently does take stills or could in the future take stills such as a next generation Pyxis, would it not be more widely acceptable to record those stills as DNG? I think most stills photo editing software would already support DNG. The OnOne raw I use supports DNG, not a BRAW still.

When I think about Pyxis shooting stills, I’m thinking of exposures that would be independent of recording BRAW video and require the functional equivalent of a shutter release;

I don’t like the physical way the BMPCC4K takes a still as it lacks precision. I’m never sure of the moment that camera is capturing the photo other than it occurs when the dedicated button is released rather than the stills camera method of recording a press.

Extracting a still from a BRAW video is laborious and only for an illustrative photo extracted from a video; that method doesn’t interest me when I can take hundreds of photos in photo shoot. A photo shoot is completely different than a video shoot. I usually want faster shutter speeds in a photo shoot compared to the relatively slow shutters in cinema.

Tim, that extracted ‘photo’ in post #333 is so gorgeous in the way it illustrates the ability to capture a wide dynamic range gracefully. A very simple and beautiful still life illustration, but says a lot about the camera and the ‘painter.’

Frank Glencarin would have so loved shooting with Cine 12K LF. I can only imagine how Frank’s image at the fair (that I recently posted in the seminal Afterglow thread opened by John Brawley in the summer of 2012) would look today. Frank’s photo not only captures a wonderful treatment of subjects in the light, but also gives us depth with a hint of subjects in the near dark. Just begging to be reimagined in 16 stops!

I’ll certainly strive to match the enchantment of Frank’s shot and #333 with the Pyxis 12K 2026 and maybe throw in some homage to Leonardo da Vinci and Pierre-Auguste Renoir with a project I’m hoping to do in 2026 inspired by a local university student Alyena Munzar.

(Please do not copy this gallery snapshot of her oil painting as I’m only using it as a hint of what may come.)

Pyxis 12k and Cine 12k stills may be graded quite close but they are different cameras. I doubt IQ will be exactly the same out of the cameras.

I understand this concept and leaning, but the 6kFF and the Pyxis have identical sensors/looks and the only variance you may see is minuscule or none at all.

I assume BMD will do their best to ensure matching sensors/looks with the Pyxis 12k and Cine 12k. It only hurts them if they are noticeably different.

For what it's worth I just chatted with B&H and they said they have no ETA for the Pyxis 12K.

Yeah all that hype about June 1st ship date... I didn't buy into it. BMD never said that.

Also, as a side note, I was comparing the specs of the Alexa Mini LF and the Pyxis 12K and the frame rates are pretty similar. It's like the Ursa Cine is the full sized cam, and the Pyxis 12K is the Mini. Only the readout time is the "issue" but yeah.... Pretty excited for the Pyxis 12K.

But the Alexa Mini LF has internal ND and the PYXIS does not.

Honestly, if Blackmagic went with the original concept of the URSA Mini and went with a mixture of UMP and PYXIS where there's internal ND, interchangeable battery mounts, interchangeable lens mounts, and a flip-out 4" screen with a status display on the outside then they would have gold. That would be the true Alexa Mini LF competitor, and the perfect companion to the URSA Cine 12K.

Yeah for sure. Everyone has made valid points. I wasn't so much saying it was an Alexa LF competitor, but rather it's spec'ed similarly to it as far as frame rates, etc so it's not so much the "budget" version of the Ursa Cine as some people might think... it's just a smaller version of it. I was basically pointing out that the tradeoffs make it similar to what the Mini LF offers and if those tradeoffs are good enough for most productions (because most choose to go with the Mini LF rather than the full sized) well then...

But yeah I hear everyone on the internal ND comments. They're nice to have, but I have a Mofage Poco on the way and that will for the most part take care of the internal ND situation. If you don't like Vari NDs (which I'm still iffy about even though many of them are really good these days), Mofage has a slide in solid ND cartridge option and so I got that as well.

Also, if you're worried about stability of the mount, which isn't that big a problem, then you can just get a lens support mount and that will lock it in place.

But the Ursa Cine is still tempting. I'm still swining back and forth between the Cine and the Pyxis 12K, but the Pyxis just seems like it would fit me better, even with the tradeoffs.

Sorry for the somewhat unrelated question, and apologies if this has already been asked...

But can anyone recommend a good SSD for editing footage from the Pyxis 12k?

Thank you

Sorry for the somewhat unrelated question, and apologies if this has already been asked...

But can anyone recommend a good SSD for editing footage from the Pyxis 12k?

Thank you

I’ve got two SanDisk Professional 4TB PRO-G40 SSDs that function as both a Drop Drive on set and a working storage drive.

https://www.bhphotovideo.com/c/product/1760344-REG

Everything is going to a 48TB RAID Array configured in RAID 10 for 24TB Storage and 24TB Redundancy Backup. This means that the SSD is purely working storage.


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Interesting. I have a 24TB 3.2 gen 1 drive arriving today as an archival drive for a client. On the Pyxis 12K or Cine 12K this could fill up quickly!

So will something like this not work then?

https://www.bhphotovideo.com/c/product/ ... e_ssd.html

Yeah for sure. Everyone has made valid points. I wasn't so much saying it was an Alexa LF competitor, but rather it's spec'ed similarly to it as far as frame rates, etc so it's not so much the "budget" version of the Ursa Cine as some people might think... it's just a smaller version of it. I was basically pointing out that the tradeoffs make it similar to what the Mini LF offers and if those tradeoffs are good enough for most productions (because most choose to go with the Mini LF rather than the full sized) well then...

For many years most productions used cameras without built in NDs, so while I do think they're nice to have, they're hardly essential. That said, IMO the closest competitor to the Pyxis 12K is the FX3, and whatever the successor to the FX3 is going to be called.

Sony has the network effect advantage of the Venice to get the FX3 line into more hands, but I think the 12Ks are going to turn a lot of heads.

But yeah I hear everyone on the internal ND comments. They're nice to have, but I have a Mofage Poco on the way and that will for the most part take care of the internal ND situation. If you don't like Vari NDs (which I'm still iffy about even though many of them are really good these days), Mofage has a slide in solid ND cartridge option and so I got that as well.

If you use cine zooms, then a lot of Vari NDs become unusable because of the filter diameter. That's why I didn't use my H+Y Vari ND with my DZO Pictor; a zoom that can cover a larger sensor will have even larger filter diameters, so it's either matte box + 4x5 filters or rear filters.

Also, if you're worried about stability of the mount, which isn't that big a problem, then you can just get a lens support mount and that will lock it in place.

That is part of what the rods are for! But it's also a fringe benefit of the smaller, lighter lenses that are becoming more widely available these days.

But the Ursa Cine is still tempting. I'm still swining back and forth between the Cine and the Pyxis 12K, but the Pyxis just seems like it would fit me better, even with the tradeoffs.

The main thing that swayed me to the UC 12K is the frame rate options. Plus it's actually a bit lighter on the rigging side of things, though I still hope that I can get a Pyxis 12K before long to use for travel.

The 12K isn't much bigger or heavier than a Komodo, so it would be possible to lug it around in the back country for nature photography

Pyxis 12k and Cine 12k stills may be graded quite close but they are different cameras. I doubt IQ will be exactly the same out of the cameras.

I understand this concept and leaning, but the 6kFF and the Pyxis have identical sensors/looks and the only variance you may see is minuscule or none at all.

I assume BMD will do their best to ensure matching sensors/looks with the Pyxis 12k and Cine 12k. It only hurts them if they are noticeably different.

The BMCC6K and the Pyxis 6K share the same sensor and electronics if not almost identical with similar profiling, IQ is technically similar, the different in heat dissipation may have lean towards the Pyxis 6K having slightly better noise handling at higher ISO.

Cine 12k and Pyxis 12k although share same sensor have different electronics, configuations, read out speed and heat management. Essentailly different cameras. Don't expect IQ to be identical out of these cameras.

Copy and pasting the same baseless assumption is not exactly convincing.

Have you forgotten what DaVinci systems does?

hmmmm...
the latest sensor readout speed for the pyxis 12k at 8k, shows 8.59 ms at a max of 112fps; and, 13.51ms at a max of 72fps. Assuming the readout speed scales with the frame rate, at 24fps, the readout speed is about 39ms. That's really pretty dismal.

So I don’t fully understand how the math works, but that can’t be right…

So I don’t fully understand how the math works, but that can’t be right…

I hope I'm wrong. One would think 24fps would take advantage of the higher readout speed.

hmmmm...
the latest sensor readout speed for the pyxis 12k at 8k, shows 8.59 ms at a max of 112fps; and, 13.51ms at a max of 72fps. Assuming the readout speed scales with the frame rate, at 24fps, the readout speed is about 39ms. That's really pretty dismal.

That’s not how readout speeds work. They are determined by the characteristics of the sensor not the frame rate. The frame rate can be limited by the readout speeds. Also keep in mind the proprietary BMD 12K sensor presents the same field of view to record 12K, 8K, and 4K without binning or line skipping.

In the 8K example you cite:
112 fps with readout of 8.59 msec and
72 fps with readout of 13.51
the first is a 2.4:1 aspect ratio and
the second is 6:5 aspect ratio.
The first samples far fewer photosites to record an image of 27.9 megapixels;
the second samples more photosites
to record an image 34.5 megapixels;
the determinant for readout is the lines of resolution;
the first writes 3408 lines of resolution
the second writes 5360 lines which is 57% more effort that completely accounts for longer readout.